Back catalogue:

Review: Slowly over the years, Pachyman has whetted his dub reggae knife on a premium steel, reverse-engineering then rip-up-restarting the time-honoured techniques of legends King Tubby and Scientist, precisely piercing their sound with the pointed instruments of vintage gear and layer-caked bass. Another Place expands now on his vision, always returning to radical roots that otherwise often go unfairly unmentioned by dub historians - William Onyeabor's synthpop, YMO's new wave kooks, Basic Channel's ambient dub - all of which were contemporaries to the 70s sound. The result is a perfect ten of welling hertz-ology, from the studied 'Calor Ahora' to the simmering enveloper 'A.D.S.H.'

Review: Leron Thomas, the Houston-born, New York-based musician behind Pan Amsterdam, has spent a life's career shearing genre boundaries; the rapper, jazz trumpeter and producer interprets a dreamlike audio-space where irreal textures intertwine, and his latest album Confines embraces this permuting sound by way of freer improvisations, merging sharp ideas with instinctive spontaneity. Pan An's offbeat, free-associative, streamy lyrics tackle race, identity, and pop culture gleeful insight, while shredder samples from gospel, jazz, and even the Grateful Dead pepper the mix with a swingeing MPC's hand. Also a tribute to his late father, Confines confides in the listener as a musical and spiritual rebirth.

Review: People Like Us, the long-running project of Vicki Bennett, returns with her first album since 2018's The Mirror. Again via sampling, and stylising in vintage neo-psych-tronic audio collage, Copia here muses on abundance and self-replication, reassembling fragments of sound into something sub-interconnected, rhizomatic. Emerging from her recent AV performance The Library of Babel, the album blends electronic textures with whimsical, often uncanny vocal moments, inlining contributions from Matmos, Ergo Phizmiz, Hearty White, Gwilly Edmondez, and others. Lyrics and melodies by Phizmiz act as a connective spine, while the project as a whole embraces an "exquisite corpse" approach, multitracks traded over oceans and timelines, forming a gaudily grotesque patchwork resistant to linearity. As always with Bennett's work, Copia blurs the borders of past, present and potential, offering a poignant meditation on creativity.

Review: Marking its 25th anniversary, this gem of a reissue reminds us why it's considered a landmark in the evolution of Balearic and Latin-infused house music. Building on the ambient sophistication of Meridian, Since Then sees Pooley embrace a brighter, more joyful palette that is steeped in Latin rhythms, breezy island instrumentation and a deep love for the dancefloor. Albeit a sandy dancefloor. The self-titled opener and single, 'Since Then', is a sun-kissed blend of balearic house and relaxed ambient textures, offering an inviting welcome into the album's glowing soundscape. 'Bay Of Plenty' drips with tropical charm, its lush chords and rich horn section infusing a magical emotionality, while 'Venasque' is an energetic blast of street funk, Latin pop and club urgency. 'Coracao Tambor' keeps the tempo up with an irresistibly playfulness and catchy without losing any depth. 'Balmes' is pure summer distilled, a late-night anthem with shimmering melodies and irresistible swing. '900 Degrees' was one of the album's biggest singles. It is a floor-filler with an unforgettable bassline and undeniable heat, while 'Sundowner' closes on a softer note, nodding back to Meridian's ambient roots with ethereal grace.

Review: Prince Far I's debut album was originally released in 1976 and produced by Lloydie Slim. It's a powerful and spiritual work in the roots and lovers rock world and features Far I chanting Psalms and prayers over heavyweight rhythms including reworks of Alton Ellis' 'Truly,' Ronnie Davis' 'Power of Love' which was also used on Horace Andy's 'You Are My Angel', and the thunderous 'Jah Jah Jahovia.' Although previously reissued over a decade ago, this new edition comes with original artwork and is pressed from fresh stampers made using the original mother plates. The result is a deep, full sound that faithfully captures the richness of the original Jamaican mastering.