Review: Re:discovery has got a superbly illusive reissue eon its hands here with 1993's Clouds Over Europe EP from Aquarian Atmosphere, 39626 and Unit 2. It is a cosmic deep tendon voyage that tingles all of your sense as you ride on the gloriously serene synths of opener 'White Clouds'. It is one of the three tunes from Aquarian Atmosphere, the others being 'Floating On Boyne' a dreamy downtempo number that leaves you gazing at the stars and also 'Rhiannon', a thinking melodic masterpiece. 39626' 'Elixir Of Life' is an intense mix of synth modulations and minimal rhythm and Unit 21s' 'Clubtraxx' (Movement 1 - unreleased version) is pure Detroit techno goodness.
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: Featuring Mervin's unmistakable falsetto delivers an anti-war message over a lush dub-infused backdrop, radiating hope and defiance. The track's atmospheric depth, blending melodic elements with rhythmic precision, is pure brilliance. On Side-2, the Upsetters' version reimagines the song, allowing Perry's dub wizardry to shine. Stripping back vocals and emphasising the instrumental layers, the dub version highlights hypnotic basslines, echo-laden effects, and a more prominent groove. The interplay between restraint and innovation transforms the track into a meditative dub experience. Junior Mervin's Cross Over 7" is a roots gem steeped in the signature magic of Lee "Scratch" Perry. With a message as powerful as its production, you've got the true recipe for a classic.
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: DIG Curated boss Marronn spotlights Tbilisi's underground powerhouse Uvall aka Irakli Bregvadze, who has long been a key figure in Georgia's techno scene. His minimalist yet mysterious sound blends enigmatic synths with undulating tempos here, always with physical grooves established in the low end. Lead track 'Northern Lights' has earth-shattering drum loops and scurrying synth details that sketch out an underwater world dripping with sweat. 'Reminiscence' has more robust drums and eerie sound designs that make for a cavernous feel and 'Bleak' is more anxious, with kicks stacked closely and unnerving synths searching for signs of life. 'Sleepwalker' is a zoned-out roller to close in hypnotic fashion.
I Can't Shake This Feeling (Young Pulse Baby Powder remix) (5:42)
Review: When love drives us wild - perhaps one too many cocoons in our stomachs have hatched as butterflies, leading to an over-excitation of winged beats - a paradoxical sense of undomesticated entrapment may follow. Whether or not our love is acted upon or returned, the fear is that the feeling will never go away, that we have been irreversibly rewilded, and that the mere mention of the person wall never fail to stir us. Kilque nailed the flooding feeling with 'I Can't Shake This Feeling' in 1982, where the motivic repetition of the chorus line "...must be love" added extra poignancy to the word "burden" to describe a song's hook. Now UK production talents U Key and Omar wax the tune extra weightily, lighting a cogno-scented candle of full-boded electro disco, eliciting strange, fatuous sensations in proximate suitors. The track boasts a full live brass and string sections, uniting Japanese and Bostonian talents; it also features Curtis Williams of Kool & The Gang on alto, while Oberheim and Moog add a modern electronic spice. Young Pulse's remix marks a sensorial broken-beat easer-upper on the B, with its foolhardy breakdowns and Rhodesy downturns.
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.
Review: Now on his fourth release, this anonymous artist continues to craft beautifully sun-drenched Balearic downtempo on his own label. With no name or face to tie to the music, the focus remains purely on the vibe-and what a vibe it is. 'Better Place' is a warm, feel-good anthem that effortlessly fuses pop charm with mellow house grooves. Its uplifting vocal and euphoric melodies radiate positivity. It reflects the spirit of a late afternoon dance on a Mediterranean coast. It's breezy yet punchy, a great blend of accessibility and sophistication. 'Couples Therapy' takes a more intricate path, combining soft island percussion, post-disco shimmer and touches of softwave. A slow tempo leaves room for a swirling acid line to evolve unexpectedly, adding a psychedelic edge to this otherwise dreamy beach gem. This is melodic, unclassifiable downtempo at its finest. These catchy tracks are hard to ignore.
U-Roy, The Jamaicans, Tommy McCook & The Supersonics - "Peace & Love" (2:37)
Tommy McCook & The Supersonics - "The World Needs Love" (2:08)
Review: Both tracks on this crucial new drop from Duke share a common theme of love and harmony, which were of course the cornerstones of reggae and part of the reason it has such an enduring appeal as the universal need for compassion and unity has never diminished. In fact, it might be more needed now than ever. First, 'Peace & Love' by U-Roy, The Jamaicans, and Tommy McCook & The Supersonics is a timeless cut with U-Roy's toasting sat next to horn-driven rhythms that were first released in the 1970s. Similarly, Tommy McCook & The Supersonics' "The World Needs Love" captures the essence of70s reggae, with McCook's smooth saxophone leading the instrumental arrangement.
Review: Berlin's Disco Disco give us disco not once, but twice. This homespun label attests to its artisanship by limiting each of its releases to short 500-ish runs, and hand-stamping each and every one of them. The latest of its type is this new one from ethereal disco-house artist Ube, offering a new three-track sex-lixir. We reach a mellow precipice on 'On The Edge', reining in our impulse to let loose through skilfully withheld chords and jutting, yet still attenuated and hazy backing elements. 'Corsica Deep' and 'Heatwave' offer two further divesuited and snorkeled visions of the deep, their fluttery surround elements and murmurations suggesting the presence of sunken ghosts.
Review: The Cosmocities label keeps it class with another deliciously deep house outing. This one comes from You Udagawa who opens up with 'Into The Rapture', a melodically rich cut with twinkling keys, lush pads and icy cow bells all detailing a steamy groove. 'We Become' is a loose-limbed sound with live-sounding chords and percussive bringing a Detroit vibe. Francesco Tristano remixes with a signature jazzy touch and nimble key work. 'Flows Forever' then keeps the jazzy, dance vibes flowing with more live drums and louche hits, 'Radiance' exudes cuddly warmth and late-night feels and Atjazz dubs it to perfection.
Review: Pipa Records returns with a big one here in the form of a highly anticipated release of Viktor Udvari's iconic track 'Tatar Jaras'. This one has long been a rather cherished fave among DJs and dancers who appreciate the finer side of house, techno and minimal. It is a track that has been creating magical moments on dancefloors worldwide for nearly a decade and after a long journey, it finally finds a home here alongside a special remix by label owner B-Squit. The original is silky and free-flowing with zoned-out pads and wavy beats and the remix is darker and heavier.
Review: Ulysses is the founder of Scatalogics Records and he first dropped this EP there back in 2003. More than two decades on it stands up to modern floors so gets a reissue courtesy of DAMN. 'Stripped Down' combines percussive house drums with free-roaming synth sequences and cosmic radiance into something bright and breezy. 'Immaterial' is a darker sound with gritty electronics and vocoder vocals for a retro-future feel. Both of these are the sort of characterful cuts to switch up the mood and groove in any set.
Review: Croatian producer Umbo makes a raucous return to Breakbeat Paradise with this two-tracker of throwback funk edits. A-side 'No Sugar' is a no-nonsense breakbeat soul cut, filtering vintage vocal hooks through crisp drums and rubbery basslines. On the flip, 'Saoco Root' cranks the tempo and energy, fusing jazzy brass, hype vocals and Beastie Boys swagger into a fast-cutting party tool. A continuation of BBP's long-running Toxic Funk series, this latest volume slots right into the label's wheelhouse: dusty, high-energy edits with bite.
Review: A quick piping of ultrafast space-techno comes as a six-track aural electro-techno drip, courtesy of Berlin's Mechatronica Music. The second in their 'Constellations' series of V/A EPs, this is an exodic exultation, charting top farings from the likes of Umwelt, Ben Pest and Viikatory. Umwelt's opening charge 'Stellar Oscillations' is a warpsped drive back to the retrofuture, with punctured stabs and fractal chord efferents propelling a lengthy trance crissing 'cross the milky way. Pest's 'Shodan' takes a detour, recharging at an interstellar traction substation specialising in sputtery, kilowatted electro. And 'Be Scared Of Clowns' is the titular highlight by Prz & Ori bringing a different spaceship to the same docking bay; it is the comparative Borg cube to the A3's Romulan craft, lessening any residual humanity for a shocking laserdesign B cut.
Ancient Methods - "The Clock Hands' Endless Mantra" (5:14)
Phase Fatale - "Corporate Graft" (4:49)
Review: This compilation marks a decade of relentless techno energy, celebrating the underground legacy of Lanna Club with four powerhouse producers. This isn't just a compilationiit's a snapshot to a decade of raw, uncompromising sound. Umwelt kicks things off with 'Alchemy', an intense, hard-hitting track where pounding beats merge with traces of trance, electroclash and EBM. It's a high-energy, mind-bending opener that sets the tone for the record's deep journey ahead. Silex92's 'Blades & Pillows' follows with a slower, yet equally heavy approachiits trudging rhythm and sci-fi-infused melodies create an ominous and hypnotic atmosphere. On Side-2, Ancient Methods delivers 'The Clock Hands' Endless Mantra', a percussive, looping techno storm laced with tribal and alien textures. It's the kind of track that transforms a dancefloor into a ritualistic experience. Phase Fatale closes things out with 'Corporate Graft', a showcase of strong production and dystopian energy, where industrial undertones meet body-shaking rhythms. What you get is, four powerful examples of current style in techno.
Ella Andall - "My Spirit Is Music" (Luke Una Machine Soul Tops Off edit) (7:16)
Slick Mission - "Time's Up" (Luke Una 5am Shabeen Proto House edit) (7:13)
Manu Dibango - "Jingo" (feat King Sunny Ade - Luke Una Dancing In Outer Space edit) (5:51)
Review: While he's not put out many re-edits of late, Luke Una has serious scalpel-job pedigree. Back in the 2000s, he and then DJ partner Justin Crawford released a series of largely disco-focused edit EPs on the hush-hush Electrik Souls series. Here he returns to the format with the first in a series of reworks focused on his popular, dusty-fingered E Soul Cultura project. He begins by teasing out and lightly toughening up a killer Caribbean cut from the 1990s, Ella Andall's 'My Spirit Is Music' - an insanely rare and hard to find number that the Sheffield-born DJ has naturally tweaked sensitively. Elsewhere, he emphasises the 'proto-house dub' feel of Slick Mission's early UK house number 'Time's Up', before going even dubbed-out and more percussive on Manu Dibango's lesser-known cover of Latin disco classic 'Jingo'.
Review: Under Black Helmet is a Lithuanian artist with an intense take on techno that has helped him to establish a respected position in the modern electronic landscape. His latest outing on Tempio Omega kicks off with 'Breakage' which is built on solid, linear drums and tripped out with some rising synth scales that bring extra movement. 'Naughty Control' fizzes with static and flashes of acid then 'Grit' pairs things back to a more deep and dubby soundworld. 'Chatterbox' shuts down with more dystopian vibes and deep, supple techno rhythms.
Review: Razor-N-Tape's white label series serves up its first-ever various artists collection here, and it opens with Windy City master Glenn Underground. His 'Happy House' is a joyous disco stomper with florid strings and lung-busting vocals. Rahaan adds his own edit to 'Be Cool', which is a jazzy dancer with magnificent guitar work and brassy horns. 'Hot Damn' (JKriv edit) keeps the love flowing with funky disco house energy and an air of hands in the air celebration and The Patchouli Brothers flip 'Love Explosion' into a strident, front foot wafered and pumping disco funker with gorgeous vocals. There I so much sunshine and joy in these tunes that they melt even the stoniest of hearts.
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: UK-based United Freedom Collective unites a throng of talents from Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul, emerging from a collective yogic and breathwork practice before mutating into a full musical outing. Debuting on Maribou State's Dama Dama label, they now return to Multi Culti for a psychedelic five-tracker documenting the euphoric somatic states reachable by the confluence of entheogenic therapy and progressive house production. A through-composed odyssey in many keys, 'Bright Patterns' opens the proceedings with piano-led vocal house, complete with sliding leads and oceanic feels, continuing in this way until a steel-panned sunriser takes form on 'El Yo', and 'Moonshine' brews its own blissful future garage vat.
Review: Universal Cave set out on a brand new cosmic spelunk. Flipping a pair of raucous Latin disco pancakes on a searing summer lowrider bonnet (in lieu of a non-stick pan), these free-range disco ovules pack much underfoot promise for the discerning dancefloor. The Philly collective kicks things off with the spry 'So Soft So Sweet', with an elusively sourced sing-along hook, blazing synth-gasms, and impulsive drums. 'Mishugina Mambo', on the other hand, gleans its inspirations from the classic Sofrito Specials series: bold horns fly in the face of relentless percs, urging everyone and your mother to get moving.
B-STOCK: Sleeve damaged but otherwise in excellent condition
AAA001A (8:14)
BBB001B (8:15)
BBB002B (8:09)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Anyone who has been out dancing recently might well have already heard some of the cuts off this seventh drop from the Only Music Matters crew because it has had early support by [a:rpia:r]. We don't know who is behind the beats but they sure do know their way around a studio: 'AAA001A' is super silky minimal with deft claps and hits scattered over a smooth tech house beat with swirling vocals up top. 'BBB001B' then layers up off-grid hits and tumbling synths, glitchy percussion and a loopy beat into something that is loose yet dynamic and last of all 'BBB002B' takes off on a crushing groove with warped and smeared vocal samples adding some late night trippiness.
Review: Gale-force sonic apneas from Planet Rhythm, the label and unstoppable phonic force from Rotterdam. The imprint's latest V/A release in the Dubwars series this time takes on its own name, 'Minerals', and welcomes rambunctious techno troilers from the likes of Unknown Code, OFF / GRID, and Luca Accardi. Rhythmically dragged, diminished stab-chords define the A1 and A2 against metal girdered kick patterns, with 'Moment' especially nailing that ever-sought-after sweet spot of energy and anhedonia, a mixed feeling perhaps only achievable within techno's ambit. Dub techno inflections turn to infarctions, as Accardi's 'Minerals' sucks the sonic substrate dry with ballistic echoes, giving way to Gockel's minimal mountaintop NDE, 'Meditation In Tibet'.
Review: OKBRON's 60th release brings a hidden gem from the North London producer Unknown Soldier, whose track 'Catatonia' was crafted in 1994 at the legendary Monroe studio with engineer Pete Parsons (Voyager). Originally intended for In Touch Records, the track remained largely unnoticed when it was included on a later compilation. Now, OKBRON presents 'Catatonia' as a standalone record, complete with 'Cyclic' on the B-sideia session companion from that pivotal jungle era, finally ready for the spotlight.
Review: Techno veterans Alexander Johansson and Mattias Fridell recently decided to come together to found new collaborative project Unwonted to explore a new electro realm. They bring their vision to Abstract Rhythm here with a massive five tracker this is the second part in the series. '60 Minute Stars' opens with a widescreen celestial atmosphere and 'Astrobio' then rides a more forlorn vibe with melancholic pads. There is a serenity and sense of calm to 'World Overthrown' with its low-key drum patterns and sombre pads and 'Holo Haven' brings a warped bassline to the fore as glitchy machine sounds and smeared synth calm counters that raw focal point. It's a sound superb outing from this venerated pair.
Review: Upsammy's ever mutating, morphing sound seems to melt before your very ears on this new body of work. A distinct beaty twang, and even drum & bass, comes into the mix as the Dutch maverick takes us on a unique trip. Highlights of her navigations include the deconstructed d&b of 'Relict' and the hypnotising chimes and shimmers of the title track which feels like a trip to a temple in Tibet while cruising the back pocket of an automaton. Powerfully mesmerising; minimal in dynamic, maximum in feels. Don't sleep on this one.
Review: Two rare instrumental covers of the 1969 classic 'Spinning Wheel' by Blood, Sweat & Tears. Produced by the legendary Lee "Scratch" Perry in 1970, these were first released on the highly exclusive Spinning Wheel label, and, as the label name suggests, both tracks are fortuitous roulettes encircling dusty instrumental dub. It also happens to be the first ever release on Harlem Shuffle, marking the start of a small, pantherine catalogue. For the rather fast brachiations of 'Haunted House' - a poltergeist of a track, fettered to the weathered-down needle nib on our own turntable, causing psychokinetic rotary reactions - and the bicyclic, two tone dub reinvention 'Double Wheel', these tracks showcase Perry's technologising approach to dubbing, prioritising energy above all. Fitting for Perry's lifelong kinghood over dub music at large, the subgeneric name was, of course, baptised "boss reggae".
Review: A new-ish name, but Obscure Shape and classically trained musician Conrad - the two halves of Urban CC - are already experts at blending high-energy techno with deep, playful textures. Side-A kicks off with 'Mana', a nicely paced, uptempo techno weapon that channels a vintage 90s spirit, full of raw drive and momentum. 'Azul' follows, switching gears into a bouncier, tech house-flavored groove. Deep basslines anchor the track while playful, urban-tinged sound effects add a fresh, streetwise character. On Side-B, label head Traumer steps in with a remix of 'Mana', reimagining the original into a deeper, more melodic journey. Rich chords flow over a hypnotic groove making this a sophisticated and atmospheric alternative to the more direct original. Finally, 'Kredo' closes the EP on a high note i a sleek and classy techno cut. Its clean production, hazy euphoria and warm atmosphere create the perfect vibe for those special late-night or early-morning moments. A dynamic and well-rounded EP that shows both a respect for techno's roots and a clear creative vision for where it can go next.
Review: Premade heavyweight Obscure Shape and classically trained musician Conrad team up; Berg Audio proudly welcome them as a new duo addition to their roster, together under the name Urban CC. Throwing back to real-deal minimal-ambient techno of a steezy kind, something between Maurizio, Move D and Ghost, 'Pegasus' and 'Marly' cycle through fluttering dub techno and 1-2-step garage respectively, the latter bringing an eyebrow raising combo of yearnsome garge vocal science and pulsewidth techno shots, post-drop. 'Hadban' sneaks a cheeky drum & bass bullet train onto an otherwise techno-centric platform, marking Sleepnet-style vocal etherics and sold-on-us liquid. 'Shagya' finally restricts the mix, with a dubtech-house full of beeping, filtered vocal shouts; a Strictly Rhythm-meets-Chain Reaction contraction.
Review: Terry Usher takes things deep on a new outing for Saint Wax that has spiritual overtones and Afro vibes exuding from every beat. '8 Hours' opens up with the sort of spine-tingling vocals and pensive pads that take any floor higher. 'Never Leave You' is a percussive groove with an infectious sense of skip and 'M' Pon' then picks things up with chanting vocals and warrior leads next to rousing horns full of soul. 'O' Wey' closes out with steel-plated drums and soft shakers bringing plenty of late-night magic.
Review: UV & Nenor link up once more and return to Fossils with three new edits that take the form of spaced-out deep cosmic chuggers. These are all classy tunes with an analogue edge, great deference to the classic synth sounds of days gone by but all with nice modern touches. 'Space Love' is a widescreen odyssey with sultry female vocals and a sweet theremin sound. On the flip, 'Shwag' has hazy pads and slowed down, rugged, sleazy drums and bass and then last of all comes 'GoGo Stomp' with another bubbly bottom end, squelchy bassline and weird but wonderful vocal sounds. A brilliantly high-grade addition to your record back.
Review: The third and final chapter of R3volution Records' 3volution trilogy is a powerful meeting point between past and future. Bridging sci-fi-laced techno with 90s minimalism, it features deep sound design and muscular drum patterns that combine for real club potency. UVALL from Tbilisi offers refined, deep rhythms with his cut, then Operator brings seasoned UK innovation and label co-founder Divide delivers precision and weight with global pedigree. Elsewhere, Belgium's PTTRNRCRRNT tunnels through textures with futuristic, conceptual drive. Each track is a standout weapon but together they make for a cohesive, forward-thinking statement from a label closing its vinyl trilogy on a high.
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: UZOO brings their raw energy and smart lyricism to new this new single which comes on Ill Adrenaline Records from the US. This project highlights the collective's dynamic sound which blends gritty beats and sharp, thought-provoking lyrics which add up to a refreshing take on hip-hop while staying rooted in the genre's golden era influences. 'Attack' hits hard with heavy, precise drums and gravelly vocals next to a mix of string samples, dark soul synths and eerie melodies that float way up above the drums.
Can't Keep A Good Man Down (feat Cornell Campbell)
Original Ganja Man (feat Linval Thompson)
Travelling Man (feat Chezidek)
Rootsman Party
Wheep Dem Jah Jah (feat Eek A Mouse)
Labba Labba (Mouth) (feat Naggo Morris)
Bad Mind (feat Sugar Minott)
Ruff Ina Dis Ya Time (feat Al Campbell)
Review: Reggae legend U Brown returns with a powerful new album, a testament to his enduring legacy and unwavering commitment to roots music. The offering showcases U Brown's inimitable voice and socially conscious lyrics, addressing contemporary issues with wisdom and conviction. Backed by a stellar cast of musicians, including the Roots Radics and Irie Ites All Stars, the album delivers a potent dose of classic reggae sounds, reminiscent of 70s roots albums. Guest appearances from reggae luminaries like Eek A Mouse, Cornell Campbell, and Frankie Paul add further depth and excitement to this already impressive collection. With its infectious rhythms, conscious lyrics, and masterful production, 'Still Chanting Rub A Dub' is a must-have for any fan of roots reggae and dub.
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: Since appearing on Gorillaz fifth album, Humanz, in 2017, Kali Uchis has been on an upward trajectory. Now a major international star with a quartet of major label backed solo albums to her name, the Colombian American rapper and singer arrives at album number five, Sincerely, at the peak of her powers. Inspired in part by an unexplained "life-altering event", the set's lyrics explore "the complexities of life" and her desire to "find joy in life despite of the world". In truth, it's more joy than pain, with Uchis gravitating towards head-nodding, string-laden grooves, r&b-influenced pop, guitar-laden trip-hop torch songs, and immersive, dream-like soundscapes.
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: In the 1970s, UK reggae band The Cimarons were an in-demand backing act who worked with then-iconic Jamaican artists like the Wailers and Jimmy Cliff. During a 1975 tour of Japan with the Pioneers, they found time to hook up with guitarist and vocalist Toshikatsu Uchiumi of the rock band The Carol. This is the result - a fusion of different reggae perspectives that also folds in mid-70s Japanese rock and blues, with Uchiumi singing in Japanese and contributing lead guitar. Produced by Sidney Crooks, this one-off release showed how adaptable and brilliant the The Cimarons' were and has a broad appeal to fans of both reggae and rock.
Review: In classic jazz style, this collaborative three-way debut album brings together three musicians at the top of their game: SML members Gregory Uhlman (guitar and effects) and Josh Johnson (saxophone and effects), and sometime Louis Cole, Sam Gendel and Chaka Khan collaborator Sam Wilkes (bass and effects). Musically, what the trio offers is undeniably unique, with International Anthem describing the album as "a jazz-informed take on progressive electro-acoustic chamber music". Certainly, there's much to enjoy, from the tracked bass, guitar and sax loops and subtle changes of 'Mavis' and the dreamlike ambient jazz of 'Arpy', to the bubbling cosmic jazz of 'Frica' and a stunning, off-kilter instrumental cover of Magical Mystery Tour-era Beatles number 'The Fool On The Hill'.
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: This refreshed edition of the standout album from Ultravox comes as part of Record Store Day Black Friday 2024 and has been mixed in majestic stereo by Steven Wilson. It arrives on a double CD and pays tribute to one of the band's most influential works and in the process highlights the groundbreaking sound that defined their era. The album retains its timeless appeal all these years on and mixes up the innovative essence of the original with a modern touch. Alongside the original tracks, this edition includes instrumental versions that serve up a deeper exploration of the music and make it a must-own piece for fans old or new.
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: 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.
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