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Latest reviews

NopeZamZam Sounds US
ZamZam is hurtling towards its milestone 100th release but first it turns to enigmatic French producer Hiss Is Bliss. Both sides of this new 12" aim squarely at the dancefloor. 'Nope' opens up as a perfect dub techno exploration with driving 808 kicks and synth swirls that paint cosmic colours in the space above. Ras Lys' vocal adds a hint of dread while the B-side cut 'Abbadia' is stripped right back to the bare bones and still makes a mark. The pads are distorted as the shimmer above the rhythm and lock you into a mindful state. This one has been limited to just 800 copies so do not sleep.
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Whispers Of An Ancient World IIIMystic & Quantum
Veteran electrohead and former artist on the Rephlex Records roseter DMX Krew's Ed DMX takes the well-known story by Jorge Luis Borges of The Library of Babel, said to contain all the different languages of the earth. Some deep philosophical thought has gone into the album's concept, but we'll leave that to Ed to explain. Instead, we'll tell you that from beginning to end there's plenty of the kind of trademark 80s synth playfulness in evidence, with a generally more mellow and soundtrack-related rather than frenetic and dancefloor-filling vibe in evidence, even on faster tracks like 'The Combed Thunderclap'. Still, Ed knows what he's doing when it comes to this kind of leftfield electro gear, and it's a rewarding, never boring listen.
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The Staples Jr Singers - Searching
SearchingLuaka Bop
The Staples Jr. Singers' album Searching is a remarkable return, blending time-honored gospel soul with a fresh perspective. The Browns—a family of ten from Aberdeen, Mississippi—recorded this album in a single-room church over two evenings, capturing a raw, authentic sound seldom heard today. Originally started in the 1980s but never finished, Searching connects past and present with its timeless music. Highlights include 'Lost In a World of Sin,' where Edward Brown and his son Troy sing about the power of faith, bridging generations with their heartfelt performance. The production, led by Ahmed Gallab (aka Sinkane), captures the intimate, live energy of the family singing together in real-time. The Staples Jr. Singers, known for their rare 1975 album When Do We Get Paid, have seen a resurgence with its reissue in 2022, earning critical acclaim. Now in their 60s, Edward, Annie, and R.C. Brown are joined by the younger generation, ensuring their musical legacy endures. Searching is a great example to the passage of time, resilience, and the enduring power of music. For a group to reform, record and again and even tour like The Staples singers are is truly a great story in music and shows how the music industry can work in a different and ideal way.
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Ummagumma (remastered)Sony
Released in 1969, Pink Floyd's Ummagumma is a double album that showcases the band's experimental edge. The first disc features live recordings from concerts in Birmingham and Manchester that highlight the group's dynamic stage presence with extended versions of tracks like 'Astronomy Domine' and 'Careful with That Axe, Eugene.' The second disc consists of solo compositions by each band member, revealing their individual creativity and eclectic styles. This album captures Pink Floyd's transition from their early psychedelic sound to a more avant-garde and progressive approach, making it a significant milestone in their illustrious career.
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Dune: Part Two (Soundtrack)Mutant
Dune: Part Two has been met by rave reviews form both critics and cinema goers and there is no doubt that yet another epic soundtrack from Hans Zimmer has helped contribute to that acclaim. His work is another masterpiece that perfectly complements the epic saga's grandeur. Building upon the thematic motifs established in the first installment, Zimmer's score transports listeners to the vast, mystical world of Arrakis. With its sweeping orchestral arrangements and haunting electronic textures, the music evokes a sense of awe and intrigue and Zimmer's mastery of cinematic storytelling shines through every note as he captures the emotional depth and complexity of Frank Herbert's universe. From the thunderous percussion of battle sequences to the haunting melodies of desert landscapes, this is a sci-fi soundtrack essential.
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The Threshold Houseboys Choir - Amulet
AmuletInfinite Fog Productions
Amongst fans of the late Coil member (and prolific electronic experimentalist) Peter 'Sleazy' Christopherson, the Amulet album has long been spoken of in hushed tones. The second and final set he recorded as The Threshold Houseboys Choir, it was recorded in 2008 and only available at gigs (or via mail-order) in a "hand-made four mini-CDR package housed in a circular Thai amulet case". This, then, is the set's first "proper" release, with the material now stretched across two CDs. Reminiscent of some of Coil's more colourful and polished works of the early-to-mid 1990s, much of the material on Amulet blurs the boundaries between ambient, dub, trip-hop and downtempo psychedelia, sitting somewhere between vintage Orb albums and the more out-there escapades of Future Sound of London.
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Linval Thompson / Roberto Sanchez - At The Ark: Marijuana Sessions In Dub
At The Ark: Marijuana Sessions In DubA Lone Productions Spain
Spanish dub maestro Roberto Sanchez first met Channel One artist and all right reggae legend Linval Thompson 15 years ago. In the time since, the pair have collaborated on numerous projects, though nothing as ambitious as this. It sees Sanchez provide an authentically dusty, deep and rhythm-focused dub translation of Thompson's 1978 album I Love Marijuana - a set that, despite King Tubby handling production duties - had never been fully re-worked in. Largely working with the original master tapes, Sanchez has delivered a dub re-imagining that sounds like a long-lost King Tubby or Lee 'Scratch' Perry production - all weighty low-end 'riddims', effects aplenty and echoing organ, guitars and vocals.
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Joy Guidry - Amen
AmenWhited Sepulchre US
On her third full-length release, Brooklyn-based bassoonist, composer and producer Joy Guidry showcases the full range of her 21st century jazz repertoire. While her frequently haunting and emotionally resonant bassoon parts are naturally a focal point throughout, these distinctive and intoxicating musical movements come wrapped in deep-set ambient soundscapes (see sublime opener 'Psalm:138:7'), waves of special effects (the equally meditative 'It's Okay To Let Me Go'), the righteous release of gospel ('Members Don't Get Weary', 'Angels') and the cosmic, higher-level intent of spiritual jazz ('I Will Always Love You'). In other words, it's an impeccable ambient jazz album that deserves wider recognition.
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