Back catalogue: Rock (All)

Review: "This 10" single reissue comes in celebration of the upcoming 30th anniversary of Ozzy Osbourne's 'No More Tears'. A new mashup sure to inspire only the best moshpitting and hair-flicking skills from every true hard rock head, this new track hears a the original Ozzy song mashed up with Motorhread's version. Never before released, it sounds like an alternate Dante eagerly cruising through the many layers of hell, as new drum reversings, stereo effects and soundscapes are peppered into this masterful musical jigsaw. The B-side also contains the two original, unremixed versions.

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Review: Fresh from the release of two tip-top twelves on Handy Records and Wolf Music, Malik Kassim brings his trademark Retromigration sound to the freshly minted LYAM label. Typically warm, woozy, bass-heavy and with plenty of intricate musical details - think Ron Trent, with a dash of the Burrell Brothers and the Detroit deep house swing of Andres - all four cuts are superb examples of the Dutch producer's approach to dancefloor dynamics. Highlights include the laidback, club-ready bump of 'Heat it Up', where undulating acid lines and synth-sax catch the ear; the shuffling, broken house sparkle of 'You Want That' (a genuinely sumptuous late-night delight smothered in spacey synth solos); and the mid-tempo, jazz-funk style title track, where loose-limbed live instrumentation and emotive solos come to the fore.

Review: It is always good to hear from Maya Ongaku especially when it comes to a new long player. This one excels at blending the ambient vibes of their previous album Approach to Anima with vibrant electronic dance styles. The result is a fresh fusion of hypnotic soundscapes and infectious rhythms with nice uplifting melodies, all complemented by delicate Japanese vocals. The album creates a shimmering, sincere atmosphere that draws on Eastern synth exotica that is both beguiling and irresistible. With its blend of lush textures and optimistic energy, Electronic Phantoms is a smart evolution in Maya Ongaku's ever-enchanting sound.

Review: RECOMMENDED
You can almost feel Ozzy Osbourne's determination to prove critics wrong on his solo work from this era. Diary of a Madman was released in 1981, just three years after the Prince of Darkness was thrown out of Black Sabbath due to the extent of his drink and drug problems. It should go without saying you have to take things pretty far to wind up an evictee from one of heavy metal's most full-throttle outfits. Nevertheless, it happened, so by the time this record arrived there was a clear desire to show people that was a temporary setback.

At the same time, there's also an element of sending himself - and that reputation - up here, preempting the comic book caricature of Evil Ozzy we would come to recognise, and love, in later years. Musically, it's as it should be - atmospheric, eerie, and packed with the classical-leaning guitar work of the late, great Randy Rhoads. 3million copies sold and counting, say no more.

Review: There are debut albums, and then there are debut albums that stop you dead, force you to take note, and proceed to unfold in the most startling directions. Welcome to the world of OXN, an Irish folk band, of sorts, featuring two members of Lankum and an awful lot of fresh ideas. Operatic, theatrical, cinematic, experimental trad, anyone? If that sounds even remotely intriguing the best news is yet to come - we've barely managed to hit the hammer even close to the nail's head with our description. It's weird, it's unsettling, born from pure emotion and just a few sprinkles of the same magic that has blessed the Emerald Isle with so many evocative and highly original musicians.