Back catalogue:

Review: The mighty Dusty Donuts return to Queensbridge where they encounter a 'Lost Girl' featured on a legendary mixtape by one of QB's finest. This bouncy, choppy Marc Hype & Jim Dunloop Late Night Remix is sure to ignite any gathering. On the flipside, the vibes shift from Queensbridge to Staten Island and bring a special sound to work the crowd - this heavy soul classic arrives in true Shaolin style with choppy, dark soul chords and classic hip-hop beats. It's a track that commands attention with the drums but also locks in head and heart.

Review: How many Italo disco records leave you saying, "now *this* is where it's at!"? Even many classics miss the chi-spot, but oh do ZYX Music know where to look for such satiate sounds. Originally released in 1986, JD Jaber's Don't Wake Me Up gleams in new citrusy light: the new 12" maxi single recirculates a genius work by Gianluca Bergonzi, whose clattery percs, rattly sweet melodies, and spandex stabs leave our breaths taken. The hard-to-find original versions feature on the A, while the B-side stirs up two new exclusive remixes mouth-to-mouthing new life into the track (and we're not talking CPR): Flemming Dalum's is steeped in retro finesse, while Dstrtd Sngl takes a more modern route, injecting darker textures and punchier dynamics.

Review: This classic Japanese funk tune has long been adored by erudite boogie, 80s funk and soul fans in Japan but also more internationally, and for the first time here it is now available as a 7" single. Produced by Toshiki Kadomatsu, the release includes one track each from the Jadoes albums It's Friday from 1986 and Free Drink in 1987, both of which are considered iconic in the Japanese boogie canon. 'Summer Lady' is full of glossy 80s drums and sparking melodies that bring unbridled joy and 'Friday Night' is a little more paired back but the stepping drums and male-female vocal interaction is a thing of beauty.

Review: ***B-STOCK: Creasing to corner of outer sleeve, plastic sleeve crumpled in one corner, but otherwise in excellent condition***


A powerful visual statement is presented on the front cover of the latest I:Cube and Jim Ka Ray release, on which McDonalds' french fries are likened to mollifying injections. Though the political conclusions we might glean from this are obvious and many, there is also an irony to the conceit; 'Jim Ka Ray' presents music that is almost equally as mollifying. Perhaps, however, the new alias of Jay Ka (aka. Kogui, who has formerly released with of Saft, As It Is and Phonogramme) would like to suggest that there are different forms of mollification; some that simply placate the soul so as to distract it from the world's injustices, and others that are more genuine, in that they serve to relax us by helping us articulate solutions. Music, luckily, is always part of the solution, as it resists the course of the world by form alone: 'Forever Sunshine', 'Fibber' and 'Moon's Man' ostensibly sound as mollifyingly Balearic as can be, but further listens reveal an attention to detail, a polish, that is not only rare in contemporary downtempo but evokes a subtler sense of emancipation, in that only the freer spirits among us could possibly have the talent or wherewithal to polish such gems. Enough blather; the remixes by the likes of Soup Less and Aardvarck (a name we haven't heard from in a while) are equally as subtle and tasty; dare we say far more nourishing than a L1.99 fry-fest.

Review: Definitive Recordings was a "house" label launched by Plus 8 co-founders John Acquaviva and Richie Hawtin in 1992 as a kind of softer flipside to their main label's hard and abrasive sound. There's some genuine gems sitting in the catalogue though, as the imprint's ongoing 'classics' series of reissues proves. This one, from one-shot artist Meredith Ledger as Juicy Fruit, was initially released in 1993. In its original form, 'Liferaft' is a wide-eyed and dreamy slab of early morning deep house perfection that sits somewhere between UK deep house of the period and NJ garage-house. On the flip we get remastered versions of the two original remixes: Acquaviva's 'LFO'-goes-house interpretation (an absolute stunner) and an organ-rich garage-house style dub from Stickman.

Review: 'Incense Music for Dining Room' is the third release in the acclaimed Incense Music compilation series curated by Toru Hashimoto, with artwork by Jiro Fujita and mastering by Calm, who is one of Japan's leading figures in jazz, chill-out and Balearic music. The 7" comes with two standout tracks: side-A features a beautiful reinterpretation of Yusef Lateef's 'Love Theme From Spartacus,' famously sampled by Nujabes on 'The Final View,' while Side-AA delivers a mellow, jazzy take on Joe Thomas' 'Coco' which also known as the basis for Buddha Brand's 'Buddha's Holiday.' It makes for a refined blend of nostalgia, jazz and chillout for discerning diggers.

Review: Sensory Blending hears Finnish artist Jimi Tenor and Italian group Aura Safari team up for an impromptu studio shebang in Perugia, Italy, after Tenor's storied but clandestine performance at a Hell Yeah party. Despite no prior connection, the musicians quickly found common ground, forging a vivant fusion of jazz-funk, tropicalia and soul. Tenor's psychedelic style gelled Aura Safari's faster, intuited approach, resulting in such tracks as 'Bodily Synesthesia,' 'Bewitched By The Sea' and 'Lunar Wind', each of which connect seductive grooves and ghost noted keys. Possibly performed live at select events later in the year, the record is a perfect storm of recorded "live feel" Balearica.

Review: A tremendous cache of tunes by Celia Cruz and Johnny Pacheco, two art-nouveau dandies of the Latin salsa and gurachas sound, the latter of which has remained the dominant form of music in Cuba since at least the late 18th Century. The 20th, of course, heard a dramatic reworking of the sound into big band swing, as it would soon be taken up by many a Latin American cojunto (small band/ensemble). Cruz broke into international stardom from 1950, but would not venture beyond the gulf to with Dominican counterpart Johnny Pacheco until 1974, and Tremendo Cache was not their first collaboration either. With right-foot-forward steps and picaresque rufflings, the pair deliver a latently sombre record, despite the snappy energy, with some of the remastered cuts including 'Don't Talk To Me About Love' and 'I Can't Stand It Any More' laying among the more acerbic of titles!

Review: Headnodic and Jazz Mafia, hailing from the Bay Area, bring a fresh yet nostalgic twist to the West Coast jazz-rap sound, combining the gritty pulse of boom-bap with the fluidity of jazz. From the outset, tracks like 'Rambissimo' and 'Zugulala' strike with a laid-back but engaging energy, fusing head-nodding beats made from SP-12s and MPCs with live instrumentation that radiates warmth and spontaneity. The resulting sound is both organic and meticulously crafted, effortlessly balancing sharp, loop-based hip-hop with the kind of loose, human groove that gives jazz its soul. The project came to life through an introduction from Thes One of People Under The Stairs, and it's clear why this collaboration is so electrifyingiheadnodding beats paired with smooth, clever bars that never take themselves too seriously. Tracks like 'Maiden Voyage' and 'All That You Could Be' capture the essence of jazzy hip-hop without ever feeling forced, creating a timeless vibe perfect for any occasion. This limited release is a gem, capturing a moment of pure creativity and musical synergy.

Review: There's more to US funk god Rick James than just 'Super Freak' and this sprawling retrospective proves it. Across four sides, the Buffalo-born musician's full-spectrum funk is on glorious display i from the righteous bounce of 'You & I' and weed-soaked romance of 'Mary Jane', to the hard-grinding grooves of 'Ghetto Life' and 'Give It To Me Baby'. The hits are all here, but so are deeper cuts like 'She Blew My Mind (69 Times)', 'Cold Blooded' and 'Can't Stop', showing off James's twisted humour, whip-smart arrangements and genre-bending instincts. Highlights like 'Glow', 'Dance Wit Me - Part 1' and the Temptations-featuring 'Standing On The Top' cement his reputation as a psychedelic soul innovator who consistently defied convention. Even the closing Busta Rhymes flip of 'In The Ghetto' feels earned i a nod to his lasting influence on rap and r&b. This isn't just a greatest hits i it's a flex, a time capsule and a reminder that Rick James could outplay, outsing and outfreak almost anyone.

Review: This ten-track dub sizzler is an essential long player that delivers five vocal cuts and five dub versions, oof of which do a fine job of spotlighting early 80s Roots Radics magic. It takes in a mix of long-requested classics and five previously unreleased tracks, which all add fresh fire to the legacy of vintage dancehall. This album forms a brilliant trio alongside the great Wayne Jarrett's What's Wrong With the Youths and Chip In albums for Jah Life and Junjo Lawes. The music's raw, rootsy energy is palpable in all cuts, and the timing couldn't be better as this is perfect summer soundtrack tackle.

Review: Celebrate 20 years of In Between with In Between Revisited: Jazzanova Live, a vibrant reimagining of Jazzanova's smashing debut. Recorded at Little Big Beat Studios, this intimate session fuses the original album's sample-driven roots with the real-deal energy of live musicianship. Tracks like 'That Night', 'No Use', and 'Days To Come' take on new life, blending jazz, soul, and electronic elements in a seamless, unforgettable performance. Though it was originally a studio creation, In Between helped define the genre of nu-jazz upon its 2002 release, where nu-jazz itself always invites live-lounge rejigging. With the Jazzanova Live Band, formed in 2008 and honed over 15 years of touring, the group finally brings a long-plotted album to the stage. The performance is here captured on analogue tape with stellar musicians and vocalists, reinventing, yet at the same time devoting itself to, a classic.

Review: Building on the success of his previous two full-lengths, Oscar Jerome's third solo album suggests he has not yet stopped growing as a songwriter, guitarist and producer. Following his time with Kokoroko and his acclaimed 2022 album The Spoon, this latest work delves into personal, reflective themes and was produced entirely by the man himself. It takes in folk influences from John Martyn and Joni Mitchell with the funk of Prince and early Carlos Santana as well as contemporary broken beat and jazz flair. The Fork explores self-reckoning through intimate narratives with each track offering emotionally rich storytelling and nuanced guitar work all making this his most personal and ambitious album yet.

Review: Boy Better Know founder, vegan grime MC and one third of the Adenuga family legacy alongside Skepta and radio presenter Julie, JME has always floated above grime and bass music airspaces as an incontestable voice. Integrity first arrived through BBK as a fully self-produced banger set in 2015, corralling heavyweight collaborators Wiley, Giggs, Skepta, and D Double E to hammer home a certain message: simply put: don't mess. Wavering between dreamy and tearout instrumentals almost always orbiting 140bpm, and circulated between then "in" producers Joker, Deeco, and of course the inimitable Swifta, JME's subject matter always matches the vibe, be that as it may, boxing the opposition with car key fobs, or treating producers like prostitutes, giving them P for a beat. A certain nostalgia will wash over 10s grime listeners, as this limited edition clear vinyl reissue reinvokes the mouthy verbiage of one of grime's toppest guns.

Review: Though they've trodden remarkably different paths through music so far, the coming-together of UK singer-producers Allysha Joy, Hidden Spheres and Finn Rees makes for a latent talent condensation of the "of course!" kind. Solina hears them freshwater rock pool their shared ear for groove and space, weaving motifs of Balearic house, jazz, broken beat and 90s street soul through a vivid whole; long after each artist's works across in veins of future beats, chillwave, deep house and UK bass. From the tremulous Rhodes overwash of 'Promised Me Love' to the sophomoric sunstroke 'Trust The Feeling', Joy's vocals usually only appear lately, like a vocal forest spirit peeking its head out on the ecotone between wood and sea. Not a showcase of chops, but a case of layered restraint, unfurling unhurriedly.

Review: Ekoya is the fourth album from Jupiter & Okwess and it marks a new chapter in their sound as they embrace Congolese funk, rock, Afropop and Latin influences. This record was conceived during a South American tour and recorded in Mexico so reflects a cross-cultural fusion that's deeply rooted in African history and features collaborations with artists like Flavia Coelho and Mare Advertencia. Along the way, the music tackles themes of change, resilience and the global challenges we face so tracks like 'Selele' and 'Orgillo' fuse political commentary with big rhythms. Through a great mix of languages, rich instrumentation and powerful messages, Ekoya is a wonderfully worldly celebration.

Review: It's all gone... 2025 marks the decade since Pete Tong, folk-vernacular-approved DJ and radio tastemaker, joined forces with conductor Jules Buckley and The Heritage and The Essential Orchestra to reimagine electronic dance anthems through the grandeur of orchestration. Over the years, their redos have made club classics symphonic, purpled in a way few other reimaginers could beat. To celebrate, Pete has now curated a special anniversary compilation, with orchestral renditions of iconic tracks such as 'Pjanoo', 'Lola's Theme', 'Killer,' 'Insomnia', '9PM (Till I Come)', and 'Your Love'.