Back catalogue: All genres

Review: Kilo Kish (aka Kish Robinson) is an interdisciplinary artist and performer who has worked with Vince Staples, Miguel, Jean Dawson and Jesse Boykins III and this, her sophomore album. It's a psychedelic piece of pop art with infectious hooks and industrial beats that muses on the issues of identity, status, and race. The production is often maximalist in a fun 80s fashion with ice-cold staccato raps, self-assured bars and playful elements that keep you locked. This first pressing comes on special transparent blue vinyl via Diggers Factory.

Review: Has there ever been a more reassuring album title? Not only is 'Live' in anywhere '21' going to send a message home that the privileged joys in life - for example a gig - are returning, you add the Melbourne bit into the equation and the point is even more pronounced. If one of the most militant nations in the world when it comes to COVID are getting people like King Gizzard in to play then live music really is back.

The Lizard Wizard might have only recently (well, relatively) released a live record, but that doesn't detract in the slightest from what's here. Opening with the foreboding drum solo that every decent rock concert should start on, what follows is yet another example of why this group is so vital. It's disorientating, constant, relentless, dark red lit weirds with guitars. Simply put, it's excellent. Again.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Here's an all-time classic to kick back and roll a fat one to. 1996 was a landmark time for trip-hop and downtempo, and alongside DJ Shadow's Endtroducing came this silky smooth delight from Japanese turntablist maestro DJ Krush and jazz trumpeter Toshinori Kondo. Smoky beats and laconic chord licks form the perfect backdrop to Kondo's muted trumpet, and the mood just unfurls from the get-go in a brilliant reimagining of what lounge jazz could be in the fusion-fuelled 1990s. It's a benchmark which has been often imitated and rarely bettered, more than worthy of a remaster and repress on double vinyl.

Review: Here's an all-time classic to kick back and roll a fat one to. 1996 was a landmark time for trip-hop and downtempo, and alongside DJ Shadow's Endtroducing came this silky smooth delight from Japanese turntablist maestro DJ Krush and jazz trumpeter Toshinori Kondo. Smoky beats and laconic chord licks form the perfect backdrop to Kondo's muted trumpet, and the mood just unfurls from the get-go in a brilliant reimagining of what lounge jazz could be in the fusion-fuelled 1990s. It's a benchmark which has been often imitated and rarely bettered, more than worthy of a remaster and repress on double vinyl.

Review: C.O.B Digital and Dynasty Entertainments kingpin Kxng Crooked returns for a fifth time, flying solo for the first time since 2017 for the former Slaughterhouse member. West Coast rap famed for its more critical bars, 'Flag' is up there with cut-to-the-chase rap projects of the past - trending more towards the Tom Macdonald style of directly addressing political talking points instead of the Kendrick Lamar approach of wrapping issues in metaphors. Crooked's flow is a time capsule of the posse era of the 2000s: think Jay-Z in Monster, or Pusha T in his off-album cuts. This is not to call the tone one-note however, far from the opposite, with a more Tyler, The Creator RnB cut in 'You was Supposed to' and a more Kendrick, nasally flow in 'Teenage Killer (1 John 1:9)'. A vast range of styles and flows are employed on 'Flag', and it goes to show that Crooked hasn't lost his touch over a decade since he popped onto the scene