Back catalogue:

Review: Johnny Clarke is of course, a roots reggae legend with a vast, and high-quality, discography that has contributed to the evolution of the genre over many years. For this one he teams up with Green Cross on 'Never Give Up On Jah', a heavyweight drop on Heartical in France. Clarke's unmistakable voice delivers a message of perseverance and spiritual strength, and it serves as a fine reminder of roots reggae's enduring power to move you in more ways than one. The riddim is deep, warm and dubwise and on the flip is the flaky, wobbly, Green Cross cut 'Style Ah Weh We Love.'

Review: Brooklyn producer Gerard Young aka Ge-ology has always championed intricacy in his original house productions, preferring to survey and purpose-build from the ground up, not prefabricate. His Versions series through Hot Biscuit has been going since 2025, with a higher-than-usual number of deep cuts (usually six in total for each 12") all given names like "Extended FeelTheFire Mix", "From SideToSide", "CapricornTribe Mix" and "Raw Stripdown Version", evidencing a sense of literary licence and playing on otherwise boxed-in remix titling traditions. Janky sampled refuse of disco-soul and gospel replay over 'Keeep The Beat' like trash-humped radio components larked from wreckage - our fave track here by far.

Review: GiGi FM's Virgo Space Acid is another mystical techno odyssey. Channelling "2025's energy," she fuses acid textures, reworked 909s and mantra-like vocals across four transformative tracks that range from the hypnotic opener 'Calibration' to the soaring tension of the title track and the emotional dubscape of 'Floresta.' Each cut explores healing, intuition and self-empowerment through sonic minimalism as GiGi refines her craft into a deeply expressive language that merges an urge to move with real moments of introspection. This is not just club music-it's ritual and release from the forefront of experimental techno.

Review: James 'Burnski' Burnham already runs about 7398 labels but recently kicked off another, Gravitate. The mission is simple - to put out club-ready cuts that have plenty of character. All of these come under the same name as the label and artist which indicates how much it is a label all about the music. The first one has a JayDee-style dark bassline, the second one brings old school house rawness that brings to mind the MAW sound and the third one is a more roomy cut with space for the synths to encourage a bit of introspection. The closer is the best of the lot, a silky deep house groove with real drive and trippy synth details.

Review: Chicagoan crate digger, DJ and producer Mark Grusane has long been regarded as one of the best re-editors in the business, with a long list of labels queuing up to put out his tried and tested reworks. Here be unveils a new project, The Tape Edits, in which he rearranges and revitalised cuts the old fashioned way - IE via the use of reel-to-reel tape, a scalpel and some sticky tape. There's plenty to admire across the six tracks stretched across two slabs of wax, from the high-tempo jazz-fusion-goes-disco hedonism of 'I Can't Come Down' and the killer-grooves-and-analogue synths flex of 'The Fever', to the low-slung disco-funk heaviness of 'Stomp The Floor' and the spacey disco-funk brilliance of closing cut 'Giving Nothing'.

Review: Norm Talley's Detroit label Upstairs Asylum comes through with another various artists gem here: Gari Romalis kick off with the sort of smoky house depths you always expect from this imprint. 'Electronix (I'm Ya Dancer)' is dubbed out but dynamic, then G Major's 'Metro To Downtown' brings an injection of soul warmth and percussive looseness. Chuck Daniels & Hazmat Live's 'I Want You' is a darker, more heads down affair with freaky vocals and digital synth patterns over gritty, US garage styled low ends. Max Watts then cuts loose with the undulating dub techno depths of 'Velocity' to round out a varied EP.

Review: Recorded in collaboration with Nils Frahm at Berlin's Leiter Studio, Ganavya's fourth album is destined to carve its own path to recognition due to its unique quality. A follow-up to last year's acclaimed Daughter of a Temple, which drew praise from many music outlets, Nilam - probably best known her for her appearance alongside Sault at their recent live show - continues her journey into music as devotion, meditation and memory. Born in New York and raised in Tamil Nadu, she moves fluidly between traditions, channeling pilgrimage trails, harikatha storytelling and jazz improvisation into something uniquely her own. Her voice is unhurried, intimate and full of clarity, conjuring stillness even in motion. It's a sound that invites stillness but never feels static, where every breath carries the weight of generations and each silence says as much as her lyrics. The songs on Nilam feel distilled from years of lived experience, shaped by years of live performance as tracks like 'Sees Fire' blend Eastern tonalities with meditative jazz, fusing introspection with emotional firepower. The album traces the patterns of gratitude, loss and rootedness meanwhile anchoring the listener in a place beyond the physical. Rather than chase genre, ganavya reaches toward essence. Nilam isn't just an album, it's a moment held in reverence. A sonic altar where memory, spirit and sound meet. In her hands, song becomes a ritual of listening.

Review: Greatest Fits is a deep dive into the superb sounds of German avant-garde new wave pioneer Gina X on the cult Dark Entries label. This double LP compilation spans the whole of the bold, boundary-blurring career of Gina X Performance, which came together first in 1978 when singer Gina Kikoine and producer Zeus B set out to create "the absolute union of music, poetry and travesty". With selections take from four of thieves albums, you'll find their signature blend of icy electro, camp theatrics and subversive pop throughout, and it all ranges from the pulsing 'Nice Mover' to the decadent 'No G.D.M.' Greatest Fits is both a musical time capsule and a vital reminder of how far ahead Gina X always was while also serving as a celebration of queer culture and synth-driven hedonism.

Review: Jean Grae and Quelle Chris come together brilliantly here on Everything's Fine, a sharp, satirical and refreshingly non-toxic hip-hop album from two of the genre's most unique voices. Superbly blending Jean's razor-sharp lyricism with Quelle's introspective wit, the project takes aim at societal absurdities with intelligence and humour and comes with notable Cameos from comedy heavyweights like Nick Offerman, Michael Che, John Hodgman and Hannibal Buress who all add an extra layer of punch. Politically charged, deeply self-aware and sonically adventurous, this is essential listening for fans of boundary-pushing rap, and it comes on a stunning tri-colour vinyl that is as bold as the music itself.

Review: Oskaa-born but truly otherworldly producer Daichi Furukawa, aka Ground, is back with a new album that is here to bend your mind and distort your reality with his fourth world follow-up to 2018's cult favourite Sunizm. This experimental odyssey truly defies genre, logic, and linearity as it assembles a chaotic yet mesmerising fusion of organic samples, synthetic textures, tribal rhythms and cosmic noise that are fantastic and freaky. Yaoyorozoo is one of those records that feels both ancient and futuristic as it taps into beautiful and unsettling, inviting and disorienting rhythms and sample sources. Across 73 minutes, it mutates like a dream-always shifting, never settling, so it makes for a cerebral collage for wide-open minds and ears only.

Review: German pair Markus Guentner and Joachim Spieth rightly got plenty of acclaim for their 2023 ambient album Overlay and now it gets revisited with a top selection of remixes that breathe new life into the original compositions. Prominent ambient and experimental artists such as Hollie Kenniff, Rafael Anton Irisarri and Pole all show their class while newer names like Abul Mogard smears synths into a misty wonder on 'Scope', Galan/Vogt layer in angelic vocal tones to 'Valenz' and Leandro Fresco brings a lightness of touch that fills with optimism on opener 'Apastron. Guentner and Spieth themselves provide two alternate versions of their originals that bring new emotional and sonic depth.

Review: UK rapper Sonnyjim and producer Giallo Point deliver a cinematic masterclass in street rap on their new collaborative album. Sonnyjim's razor-sharp wit and sardonic charm cut through every bar of No Vi$ible Means of Income 3 while weaving tales of crime, luxury and survival with grit but also lyrical elegance. Giallo Point crafts lush, noir-inspired backdrops full of moody strings, dusty loops and crisp drums that feel ripped from a gangster flick. The album stays proudly UK-rooted with top-tier guest spots from Jehst, P4VAN, Juga-Naut, Farma G and Beny Laylo, all of whom help make an immersive world of suspense and swagger. British hip-hop at its most refined and raw.