Review: The well regarded Umwelt introduced Raverbreakerz as a dynamic new series on his label Rave Or Die earlier in summer. This massive compilation shows what it is all about with four hard-hitting tracks from genre specialists Blame The Mono, Jadzia, Ghost In The Machine and Umwelt himself, Seamlessly blending techno, breakbeat and dark, intense sounds design to captivate and energise the floor in equal measure, each artists contributes to what is a versatile arsenal for DJs seeking powerful sounds with a distinct style. On this evidence, Raverbreakerz is going to be a crucial new series.
Review: There is plenty of experimental work at play int his new various artists' collection on Flash. Cloned Existence sets that tone with the brief synth exploration that is 'Wave 1' when Gael & Jolly take off with the much more punchy and thudding techno of 'Paradigm Shock' which is weird up with all sorts of synth designs, effects and layers of reverb. Under Black Helmet ups the ante further with one of those bulky techno grooves that locks you in the moment and Stigmata then brings big room 90s vibes with layers of tangled synth melting the mind. Florian Meindl brings things to a close with gritty, scraping bass, reverb-heavy kicks and pure warehouse techno heaviness.
Review: Eight further sonic spirits are conjured on the seventh edition in Damian Lazarus' annual compilation series. Emphasising deep house and techno grooves with a hypnotic flavour, the procurement here is exemplarily brooding; Dino Lenny's 'I Have Sampled Father' marks a sure turn away from the openers' cleaner-cut mesmerisms with a smoky, funk-inflected haze, bringing rhythm guitar and paternal murmurations to a surreal montage. The monologuing mood continues on the equal highlight that is Upercent's 'Where Are You', whilst Enamour's 'Jackpot' rounds out the show with the record's only brightly-lit minimal triller. The record is marked by sensuous, distant, familiar voices throughout.
Review: Rave Or Die recently minted a new series called Raverbreakerz and now it squeezes out another one just in time for the silly season. Again featuring five electrifying tracks, this one is all about powerful rave, techno, breakbeat, and dark, doomy hard sounds crafted by skilled artists Mental Fear Productions brings some savage synth textures to 'Final Bastion', Tripped builds wall-rattling drum foundations on 'Spank' and Nite Fleit's 'Disillusion' is a writing blend of slamming kicks and tortured leads. Whether you're a seasoned raver or a newcomer, these bangers promise to ignite any set with musical menace.
Review: A rarely legit example of raw hip house from Chicago's Tyree & Ungkel Huud, who are, well and truly, tired of this BS - by which they mean illegitimate house music of the wannabes' kind. MC Tyree buckles up for a challenging but knocked-out-the-park verse glided over four mixes, from Wade Teo's opener to an acid killer, decrying the falsity of upstart house producers: "get out my house! You been here too long... matter fact, you can kiss my..." With an instrumental mix on the flip too, you can be sure for a fiery start to your next vocal-soaked DJ set.
Unified Spirits - "Meant To Be" (Antonio Ocasio remix) (7:32)
Antonio Ocasio - "La Fiebre" (7:10)
Review: New York-based DJ and producer Antonio L Ocasio brings his deep house expertise to his own label as the latest release. On Side-1, 'Meant To Be' by Unified Spirits, is a smooth builder led by gentle guitar riff and enriched by lush strings. Its house groove is both soothing and uplifting, unfolding with a natural, unhurried progression that draws the listener in. On Side-2, Ocasio himself delivers 'La Fiebre', a stunning example of tribal house mastery. The track is spacious and deep, with ominous chords and a subtle tech edge that creates an immersive, almost cinematic feel. There's a beautiful balance between rhythmic drive and atmospheric depth, showing Ocasio's knack for blending soulful elements with intricate production. Altogether, this release maintains a polished and timeless quality - like his Tribal Winds label now verging on 30 years in operation.
Review: Jakarta's Uwalmassa refine their singular language once again, deepening their reconstruction of Indonesian musical heritage with four stark, ritualistic pieces. 'Untitled 11' spirals through halting, dust-coated percussion loops, its groove collapsing in and out of time like a broken ceremony. 'Untitled 12' stretches further into abstraction, its dry, rattling timbres evoking brittle reeds and scorched earth. On the flip, 'Untitled 13' locks into a hypnotic, gamelan-inflected rhythm that sounds hand-played but digitally deconstructed, while 'Untitled 14' closes with detuned melodies and a low-slung bassline that suggests ancient dance music refracted through modernist minimalism. Each track seems built to evoke memory without nostalgiaideeply rooted yet future-facing. Their approach continues to resist both club functionality and ethnographic cliche, landing instead in a realm entirely of their own.
Review: This remarkable collection of mid-70s reggae captures legendary deejay U Roy at his most intimate and authentic, toasting exclusively for the King Attorney Hi-Fi sound system. Originally crafted as dubplates rather than commercial releases, these tracks are a time capsule from the golden age of Jamaican dancehalls. U Roy's charismatic flow, filled with shout-outs and jive, rides effortlessly over heavyweight rhythms recorded by The Revolutionaries at Channel One. With rich dubs from the Mighty Diamonds' Right Time and updated classics like 'Ali Baba' and 'Swell Headed', this is a joyous, immersive listen and an essential document of reggae's deep cultural roots.
Review: Kali Uchis has always had a gift for building dreamy, insular worlds, but her fifth studio album feels like a quiet reckoning. She channels existential uncertainty into lush, open-hearted pop i a mix of glittery r&b, woozy soul, and downcast slow jams that seem to float between time zones. Written in the aftermath of what she's described as a "life-altering" experience, there's a newfound stillness here. 'Sunshine & Rain...' is all candlelight and quiet yearning, its soft-focus production the perfect backdrop for a voice that's more hushed and inward than ever. 'ILYSMIH' (short for "I love you so much it hurts") doubles down on vulnerability, with lyrics that feel read straight from a diary, tangled up in delay-drenched strings and pillowy keys. There's punchier stuff too i 'Territorial' and 'Daggers!' lean towards funk and psychedelia, but the tempo never really rises. Instead, the energy folds inwards. 'Silk Lingerie,' 'Lose My Cool,' and 'It's Just Us' feel like whispered confessions, suspended between dream and memory. Across all 14 tracks, there's a strong sense of intimacy and solitude: of letters written and maybe never sent, of a person quietly finding the strength to stay soft in a world that rarely offers the same back.
Review: Veteran French hip-hop producer Ugly Mac Beer ventures into synth-punk with this new album. A passion project conceived in his teens, this record embodies three decades of musical ambition and collides post-punk, electro-punk, darkwave and new wave with US hip-hop and rap rock. Influences like Beastie Boys, The Cure, Kraftwerk and Sleaford Mods resonate throughout and collaborations with Princess Superstar-whose hit 'Perfect' recently resurged on TikTok-French rapper Mynameisleonidas, Frustration's vocalist and longtime ally The Real Fake MC, Broken Ill is a bold trip. Ugly Mac Beer reinvents himself here by delivering a daring UK-inspired rap rock gem that defies convention.
Review: Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann, Josh Johnson and Sam Wilkes, a collective of three versatile improvisers, arrangers and producers whose work spans jazz, rock and experimental. Across 11 instrumental tracks, they explore a jazz-informed take on progressive electro-acoustic chamber music that brings beauty, melody and rhythm to the fore. The record was conceived during live shows and a home session in Los Angeles and features Uhlmann's mournful fingerpicked guitar, Wilkes' bass chording and Johnson's effect-laden saxophone. Their arrangement-minded improvisation results in some nicely otherworldly textures as they push their instruments to create a spacious, lyrical sound.
Review: Check classic dance music books of the 1990s - and even some later music texts, such as Richard King's The Lark Ascending - and you'll find plenty of praise for Ultramarine's work of the early 1990s, which added pastoral and folk-rock inspired sounds to the sample-heavy pulse of dance music. What you won't find is any reference to their final album of the decade, A User's Guide. Yet it may well be their best album. A conscious exploration of techno and IDM shot through with references to Detroit, Berlin and Sheffield (well, Warp Records at least), it reportedly took the duo almost two years to record. A largely unheralded British techno classic, it has been painstakingly remastered for this first ever vinyl reissue and boasts extensive contextualising liner notes from UK techno historian (and sometime Juno writer) Matt Anniss.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
White China (3:49)
One Small Day (4:23)
Dancing With Tears In My Eyes (4:37)
Lament (4:35)
Man Of The Two Worlds (4:25)
Heart Of The Country (5:07)
When The Time Comes (4:57)
A Friend I Call Desire (5:11)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
The 40th Anniversary Edition of Ultravox's Lament offers a fresh perspective on a seminal album from 1984. The album, produced by Ultravox ithe preceding year, is a defining moment in their career, marked by the UK Top 10 hit 'Dancing With Tears In My Eyes' and notable singles like 'One Small Day' and the title track 'Lament.' Musically, Lament stands as a sophisticated blend of new wave and synth-pop with a darker, introspective edge, the tracks exhibiting a polished yet emotionally charged sound, driven by Midge Ure's poignant vocals and the band's intricate arrangements and the album's themes of emotional turmoil and societal commentary are given new life through this comprehensive reissue.
Review: This Ultravox classic gets a special release for Record Store Day Black Friday 2024 on double vinyl complete with a stunning stereo mix by Steven Wilson. This version offers a refreshed take on the iconic album and is a fine homage to one of the band's most defining works. It reminds just how groundbreaking their sound was at the time and it still has a modern twist that makes it feel relevant now. Instrumentals are all included next to the originals for added depth.
Review: Originally released in 1999 and now reissued, Beaucoup Fish captures UK techno icons Underworld at their peak popularity. Karl Hyde, Rick Smith and Darren Emerson were just coming off their Trainspotting movie fame due to their legendary track 'Born Slippy'. Following Dubnobasswithmyheadman and Second Toughest in the Infants, this record feels heavier and more restless, mirroring their ambivalence toward their growing profile. Where their previous albums flowed like introspective night drives, Beaucoup Fish often barrels forward with full-throttle energy. Tracks like 'Push Upstairs' and 'Kittens' tear through at blistering tempos, merging techno heft with psychedelic texture. 'Shudder / King of Snake' is the album's pounding centerpiece, a kinetic beast built on a mutated 'I Feel Love' bassline and layers of frenetic percussion. Yet it's on 'Jumbo' and 'Cups' that Underworld tap into something deeper, more elegant and melancholic for solitary moments on packed dance floors. Hyde's cryptic, associative lyricism are half preacher, half poet that add a compelling edge throughout. His stream-of-consciousness delivery turning even the most muscular tracks are very introspective. Beaucoup Fish may reflect a band conflicted about their identity, but it's also Underworld at their most refined, striking a potent balance between euphoria and alienation, bombast and subtlety. It remains a hypnotic artifact of late-90s rave culture, vivid in both its unease and its ecstasy.
Review: This 2025 reissue of the British duo's 1995 breakthrough offering captures the raw energy and genre-blending brilliance that made it an instant classic. Still revered for its fusion of techno, house, and ambient with a distinctly industrial edge, the album's resonance continues to define electronic music today. Tracks like 'Dark & Long' and 'Surfboy' showcase their ability to create expansive, atmospheric soundscapes that are both tough and emotive. The low-end drive of 'Cowgirl' and the serene tones of 'River of Bass' reflect the duo's mastery in blending dancefloor-ready beats with intricate textures. Hailing from the UK, the duo pushed boundaries with their dark, melodic sensibility, crafting a sound that remains influential. Their influence on modern electronic music is undeniable, and this reissue serves as a vital reminder of how they redefined the genre back in the 90s, keeping the core of their vision intact while inspiring new generations of listeners.
Review: Underworld's sixth LP A Hundred Days Off heard them wean their sound down to a finer but still full Brit-rave sound, not to mention a readiness on their part to break the charts compared to their earlier, yet by all means more esoteric, studio projects such as Dubnobasswithmyheadman. Praised by Uncut as a "beautiful and baffling enigma", the record gave birth to such wonders as 'Two Months Off', 'Trim', 'Ess Gee' and 'Dinosaur Adventure 3D', tracks whose long-form structures and brutalist trance ballistics would continue to prove lactic boons for the stylistic milking. Sheffield art collective The Designers Republic were commissioned to design the iconic balloon-head cover by label V2, also enshrining a spectacular modern art and modern music crossover in this ingenious record.
Review: British heavyweights Underworld delivered one of the 90s' most enduring dance albums with their second LPivisionary, sprawling, and wired with tension. This 2025 reissue does it justice, pressed onto heavyweight vinyl with a half-speed cut that gives its deep, hypnotic sonics fresh bite. From the moment 'Juanita : Kiteless : To Dream Of Love' opens with glitchy insistence and locked grooves, it's clear how ahead of its time this was. The glitch-techno swirl of 'Banstyle/Sappy's Curry' and the growling 'Rowla' nod to Sheffield and Detroit in equal measure, while 'Pearl's Girl' pulses with breakbeat aggression and warped vocals, its grit sharpened here by the remaster. 'Confusion the Waitress' and 'Air Towel' show the band at their most meditative, layering ambience and submerged breaks into something closer to sound design than club tool. Even 'Blueski' and 'Stagger'ishorter, sketch-like piecesifeel essential to the album's industrial-sublime mood. Still fiercely modern, still haunted, still euphoric. An artefact of the past that belongs squarely in the now.
Review: After the chart-topping A Hundred Days Off (2002), what was to come next for the albums arm of Underworld, aka Karl Hyde and Rick Smith? Clearly, it was to be a return to gritty chillout rave schematics - now tapering into ambient dub and progressive - that defined their earliest works, in stark contrast to their mid noughties crowd electrolysers. Oblivion With Bells (2007) saw mixed critical receipt, the aesthetes among us referencing to the record's pull towards directionless absurdity (mirrored in track titles like 'Cuddle Bunny vs. The Celtic Villages'), but its nurturance of highlights like 'Crocodile' and 'Ring Road', and their increasing use of flamboyant post-rock theatrics onstage, still make this moment a stellar one in our books.
Review: This 2025 reissue of the British electronic duo's 2010 release revisits a moment when their sound was at its most refined and expansive. Tracks like 'Bird 1' and 'Always Loved A Film' have an almost trance-like quality, drawing listeners into a rich web of pulsating rhythms and repetitive motifs that feel both hypnotic and unsettling. In contrast, songs like 'Diamond Jigsaw' and 'Moon In Water' offer moments of clarity, their crisp melodies and infectious hooks cutting through the layers of sound with a bright, shimmering energy. The duo's ability to shift between moods is strikingi'Hamburg Hotel' brings a brooding weight, while 'Between Stars' provides a lift, its airy textures pushing against the track's grounded pulse. This reissue feels less like nostalgia and more like a timely reminder of their ability to blend pop accessibility with experimental edge, marking their unique place in the electronic canon.
Review: Unspecified Enemies were much-loved electro-techno innovators back at the turn of the millennium. Some quarter of a century on, they finally get around to putting out a debut album, but it is one that reworks a bunch of earlier material into new forms of machine funk. Originally a duo, Louis Moreno and Simon Walley crafted a cult following inter heyday and this album blends the optimism of the millennium's dawn with caution about technology's future. The music here captures the energetic spirit of the era while reflecting on urban decay and power systems with tracks like 'Glass Skin' and 'Bonaventure Effect' colliding upbeat, glitchy electro with a gritty yet nostalgic edge. It's potent stuff.
Review: This sophomore album from Istanbul-born, Berlin-based electronic composer and sound artist Huma Utku explores psychological phenomena through a series of sonic essays. Drawing on her background in Psychology, Utku combines her academic and artistic practices in this ambitious release and includes recordings from her Elektronmusikstudion residency in 2020. The album also features synth intrigue, electroacoustic, experimental techno, industrial and spoken word all brought to life with piano, strings and vocals. Utku creates a dramatic, unsettling soundworld here while exploring themes of grief, consciousness, dream analysis and psychological symbolism. It's a truly intimate exploration of the human condition.
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