Back catalogue:

Review: Menacing EBM and dark synth billows from a Netherlands hinterland; our heralds speak of an esoteric encampment by the name of Espectro Oculto, said to be the remote incantators of an unstoppable curse in sound. Six shadowy emissaries have been sent to spread the pestilence; Trenton Chase, Martial Canterel, DJ Nephil, Exhausted Modern, Fragedis and Happy707. Clearly, the faction have recruited only the best, trusted and yet most nefarious of spies from as far-flung regions as Czechia and Argentina in the administering of such a sordid sonic plague. We're left most quivery at the centrifugal doom drones of Exhausted Modern's 'Fear Of Focus', across whose breakdown banshees are heard wailing and snarling, and Fragedis' 'Landing In Reality', a lo-fi techno freakout and sonochemical anomaly, channeling militant two-way radio samples and hellish FM synthesis.

Review: Conjunto Medialuna's latest album on Little Beat More is a direct trip to the heart of Bogota's rich cumbia scene. The record blends traditional rhythms with psychedelic influences driven by the Colombian accordion and ecstatic percussion that is so strongly associated with this style. These are two of the jams from it, but frankly you should also check out the full LP. It's a tribute to the guacharaca and the lively street parrandas where each song explores new interpretations of classic sounds. Featuring collaborations with N. Hardem, Mismo Perro, Son Rompe Pera, MC Hydro and Japanese-Latin percussionist Muupy, Noches de Medialuna, it transcends cultural boundaries and joins the dots between traditional and modern urban Latin music which is now so hugely popular around the world.

Review: Brenda's debut for Rupture LDN is a love letter to the dancefloor in all its phases, from early anticipation to late-night transcendence. Hailing from the UK and embedded in the country's long rave lineage, she draws on 4x4 jungle techno, deep d&b and spoken word to map out a personal and emotional arc. 'Come Undone' captures the energy of the night in full swingirushing breaks, euphoric pressure, the kind of track that commands the room. Elsewhere, 'Benda Brenda' and 'Total Danger' are raw-edged and jungle-rooted, while 'Rolling With Fabio' is deeper and more rolling. It all closes on 'A Deep Shade of Rave (Outro)', a poem dedicated to her long-running Ferry to the Underworld sessions at Corsica Studios. Spiritually full, physically rinsedithis EP nails what it means to live for the rave.

Review: 'Perfect' by Mason is one of those tunes whose melody everybody knows, but few, save for the timeliest of Eurodance heads, can recall the name of off the top. Later rehashed alongside American rapper Princess Superstar, the track invaded the Western collective cochlear cortex circa 2005, whence its plucky drive-lead roused dancefloors and iPod shuffles the world over; an eerily engineered earworm arising seemingly out of nowhere. This reissue from Armada hears a comprehensive set of interpretations from various EDM giants in the years after its release, perhaps motivated by the track's use in the 2023 film Saltburn. Aside from a David Guetta re-up, the 1991 pop-d&b is a sleeker slew of ultrafast beats, as though the original's distinctive pluck line had been pre-primed for shelling at faster velocities.

Review: Yet another early Masters At Work proto-jungle cut gets released on the inimitable Kay Dee recs. 'Blood Vibes' (Demo Version) is a desirous gemstone whose best facets reflect reggae, hip-hop and party breaks, though each side can only partially bend the unmissable light that is Kenny Dope" Gonzalez's production touch. Built around elements of Junior Reid's reggae classic 'One Blood', 'Blood Vibes' came about amid the pose-striking ballroom craze in New York in 1991, and even now we can hardly prepare ourselves for the riot that ensues on the following B-side, 'The Madd Cry'.

Review: 'I'll Take You There' by Leon Mitchison, featuring mixes from Kenny Dope, is a standout release from Kay-Dee Records, in a rare label head-to-head with Now-Again Records. This special edition tosses us an unreleased remix from Kenny Dope, infusing his signature funk-in-the-trunk style into an authentic and primally mixed track, working directly from Mitchison's original 8-track tapes. Acclimatising the first's deeper grooves to Dope's dope, breaks-heavy production, the artist is truly deft at upcycling vintage sonic garms.

Review: This reissue brings a sought-after Italo-disco classic back to the dancefloor. Originally released in 1984, it's a timeless anthem with infectious melodies and pulsating rhythms capturing the essence of the era. The reissue features three distinct mixes, each offering a unique flavour. The 'New York - London Mix' is a vibrant and energetic journey, while the 'Free House Mix' takes a more laid-back approach, its hypnotic groove perfect for those hazy after-hours moments. The 'NU Style Mix' injects a contemporary twist, updating the classic sound for modern dancefloors. Whether you're a seasoned Italo-disco aficionado or simply a lover of feel-good dance music, this reissue is a must-have.

Review: Following mesmerising Marseilles mutations from the likes of Syqulone, Kabylie Minogue and Lisa More, Cain ? Muchi return to Gros:Oeuvre with their remarkable debut album. A heady tagine of grime, beats, techno, global bass and contemporary electronica with a title that either refers to famed Moroccan popstar or, far more likely, relates to meaning as 'universe', Dounia is a beguiling clash of western electronics and eastern bars, lyrics, and vocal harmonies. Fractured and macabre throughout from the distorted hardcore bass highs of 'J'wadi' to disarming vocal cries of 'Majdouba' this post grime, pre apocalypse opus is a trip from edge to edge.

Review: Machine Girl's debut album celebrates its tenth anniversary with a long-awaited reissue, which marks the first time it arrives on CD as well as vinyl. Originally released in 2014, WLFGRL fused footwork, jungle, digital hardcore and rave into a chaotic, euphoric sound that helped launch a global underground movement. The album's packed with raw intensity and plenty of breakcore influence so it introduced a new generation to extreme electronic music and to celebrate its return, a one-off livestreamed show at Brooklyn's Trans-Pecos accompanied the release. As we are reminded listening back now, WLFGRL is a real high-water mark in outsider music culture.

Review: Italian-born but longtime Brooklyn-based Madteo stands at the crossroads of gritty, industrial grooves and experimental sound exploration, continuously challenging the boundaries of electronic music with his genre-defying work. Known for his love of cheap vinyl and uniquely odd records, Madteo's production style mirrors this raw, unfiltered approach i like sketching sound on a dirty napkin. Just as he seeks out imperfect, worn-out records, his music embraces the rough edges and unpredictable textures, creating a sound that's as spontaneous and unrefined as a hurried, chaotic doodle.Tracks like 'Cans People' tap into an archaic rave energy, while 'To Know Those Who' delves deep into fragmented dub techno, its non-linear structure a testament to his ability to twist familiar forms into something completely new. As the album progresses, 'Nocturnal Palates' expands the filter house universe with deep, evolving textures, and 'Rave Nite Itz Alright' surprises with its subtle yet intense chaos. The closing tracks, including 'Luglio Ottantotto' and the 15-minute odyssey 'Emo G (Sticky Wicket)', showcase Madteo's knack for manipulating time, space, and sound, offering a disorienting yet mesmerising journey into the unknown. As an artist and conversationalist, Madteo's work remains bold, unpredictable, and captivating, further cementing his place as one of the most inventive voices in modern electronic music.

Review: Kali Malone's The Sacrificial Code stands as a defining work of 21st Century minimalism, shaped by years of intensive study. Originally released in 2019, the album emerged from her time at Stockholm's Royal College of Music, where she explored sound, space, and alternate tuning systems under the guidance of organ tuner Jan Borjeson. Stripping composition down to its starkest form, she embraced canons and slow-moving harmonic shifts, slowly but surely stepping into a sound emphasising monumentality. Now, six years later, The Sacrificial Code is reissued via Ideologic Organ, featuring a new 2023 recording of the title track on a 16th-century organ. Malone's self-taught recording techniques bring out the instrument's spirant resonance, creating a time-dilating sound. Less mournful, more tranquil, the new version mirrors the concurrent transformations of music and listeners in step, over time.

Review: This electrifying 1973 live broadcast captures Bob Marley & The Wailers during their US tour supporting the Burnin' album. Originally aired on KSAN-FM, the set showcases the legendary lineup of Bob Marley, Peter Tosh, Aston "Familyman" Barrett, Carlton Barrett, Earl "Wire" Lindo and Joe Higgs, all of whom were at the peak of their powers. The album takes in standout cuts from Burnin', including unforgettable contributions from Tosh and the performance follows their short-lived stint touring with Sly & The Family Stone. It's an unfiltered, visceral document of reggae history in the making that reflects the Wailers' seismic impact just before they exploded into international stardom.

Review: Following on from two previous EPs here in 2019 and 2022, Peter Matson now serves up a wonderful full-length on the storied Bastard Jazz. Hotel PM is a psychedelic exploration of disco and modern electronica from the Brooklyn-based musician and co-leader of Underground System. His signature attention to detail, songwriting and world-class musicianship all shine through next to collaborations with the likes of Pahua, Kendra Morris, Toribio, Phenomenal Handclap Band, Sly5thAve and members of The Rapture, Ibibio Sound Machine and Poolside. Between them, they delve into themes of time, memory and disenchantment with modern technology with a mix of lush strings, tight brass and analogue synth basslines. It's a journey of dance floor delight and more introspective moments with plenty of catchy hooks and retro-future charms.

Review: 1997's Slow Traffic to the Right found Bennie Maupin navigating between cerebral jazz and deep funk with style and ease. Though generally known for his abstract leanings and serious musical demeanour, here he showed a lighter side - not least because he is actually smiling on the album cover - while diving into grooves shaped by his time with Herbie Hancock's Headhunters. With help from rhythm masters like Mike Clark and Paul Jackson, Maupin swaps out ECM austerity for signature Oakland bounce, so tracks like 'It Remains to Be Seen' and 'You Know the Deal' excel with newfound swagger without abandoning his jazz roots. It's a compelling pivot into accessible, funky and smart jazz soul.

Review: Accomplished UK talent Medlar's Islands albums mark another leap forward for the always evolving producer. It finds him merging electronic textures with live instrumentation and some top-tier collaborations from Dele Sosimi, Rebekah Reid, Finn Peters and more. 80s fusion, jazz, deep house and amapiano influences all collide into summery sounds that work as well in the club as they do pumping out of the car stereo. From the lush, afro-laced opener 'Take a Trip' to acid-tinged house, freestyle rap and blissed-out Balearica, each track has its own charm and personality. With less reliance on samples and more organic improvisation, this record could well be Medlar's best yet and certainly a great soundtrack to summer.

Review: South London's Medlar returns to Delusions of Grandeur at the peak of his production powers, showing up with a distinctly refined sonic palette on the brilliantly expansive LP, Islands. Known for his deep-cut edits, genre-hopping productions and steady underground presence, he's pulled together a cast of collaborators including Dele Sosimi, Rebekah Reid, Arnau Obiols and more. The record builds on years spent engineering and producing for others, drawing on those skills to deliver something more personal than ever. Blending live instruments, 80s-inspired electronics and club-ready low end, it's less sample-based than past work but still rooted in the recognisable Medlar spirit. Highlights come thick and fast, including the blissed-out opener 'Take A Trip', the wigged-out exoticism of 'Yeah', the acid thrust of 'Luv Interlude' and the emotion-rich Balearica of 'Ibiza'. Top marks.

Review: Veteran Wackie's artist and reggae don Coozie Mellers returns with a fresh ten-track long player that bridges the label's deep roots heritage with modern reggae sensibilities. It blends crisp digital rhythms with heartfelt lovers' rock and roots textures and features the standout track 'You Move', which was previously released as a 10" single in 2015. Mellers' vocals are beautifully soulful and glide over the smart dubwise arrangements and bring a mix of both warmth and grit, with jams like 'Special Friend' unfurling slowly and seductively and 'Your Love Is Dangerous' being sentimental heart swellers.

Review: Buenos Aires-born but now based in Barcelona, Nicolas Melmann explores sound's social and poetic dimensions through what he calls "transdisciplinary projects." He is inspired by Erik Satie's "furniture music" and his compositions create spaces of calm and contemplation as evidenced here on this lovely new blue LP. Musica Aperta blends acoustic and electronic elements with rich harmonies where soft textures meet delicate raspiness and it is divided into three parts. Each one slowly immerses you in time while echoing Satie's concept, Arvo Part's minimalism and Phill Niblock's roughness. It is a calming and cathartic escape from the fast-paced of modern life.

Review: Detroit electro investigator MICRO4CE delivers a no-compromise double pack here across two EPs packed with nine tracks of raw electronic futurism and imaging. It is all rooted in classic Detroit electro and so-called hi-tech-funk so the sound channels early 80s influences like Nucleus and Mantronix while carving out its own cyborg-driven edge. 'Bass Situation 313' gets underway with swampy low ends and far-sighted chords then the likes of 'Borg Fightz' bring unrelenting coruscated drums and 'The Greed' is a more minimal sound with zippy synths and dehumanised vocals. This is seriously high-grade electro for heads who like gritty, futuristic and fearless sounds.

Review: The Mighty Bop is the duo of French house legend and pop-dance favourite Bob Sinclar and techno veteran DJ Yellow. This reissue marks the 30th anniversary of their debut album La Vague Sensorielle which was at the time a groundbreaking fusion of acid jazz and trip-hop. It has since become a favourite with new generations of diggers and has a real rhythmic depth that still cuts through three decades later. Standout tracks like 'Freestyle Linguistique' featuring EJM and the hypnotic 'Infrarouge' are well worthy of plays in a modern context and will let new audiences rediscover a classic that helped shape the sound of the 90s.

Review: German funk heroes The Mighty Mocambos continue to prove that their funk is an ever-evolving force, navigating between the worlds of gritty, organic soul and cinematic experimentation with unapologetic energy. Their latest offering marks another step forward, refining the groove-laden formula that's earned them global acclaim while pushing into new territory. The opening track hits hard with orchestral flair on 'Road to Earth,' where the legendary Peter Thomas's arrangements lay the foundation for a full-on sonic odyssey. As they move through the album, tracks like 'It's the Music' and 'Hot Stuff' groove like a classic, with Afrika Bambaataa's presence lifting the energy and ensuring a tight vibe. But it's not all about party anthems. 'Not Get Caught' from DeRobert tells a story that's as gritty as it is soulful, capturing a narrative of crime with a raw, undeniable swagger. Even more dynamic is the standout 'Catfight,' which melds mysterious Eastern flavours with a tripped-out break, displaying a versatility that refuses to be boxed in. This is an album of triumphs, not just in the power of individual tracks but in the overall cohesion of sound and spirit, and by taking a step further into uncharted waters while keeping their infectious funk roots firmly grounded, The Mighty Mocambos challenge expectations and push boundaries. A showcase of a band in full flight, steadily rising.

Review: The turn of 1980 saw limited quantities of Salty Miller's lone album, a hidden gem of the beach music scene of the Carolinas, after which the properly named Beach Music Records names itself (they monopolised the scene early on). Miller's album blends soul, disco, and mid-tempo steppers, perfect accompaniments for the shag, beach music's signature dance. Though an 80s classic in its own right, Album 1 was made after Miller took extended time away from releasing: his masterwork heard a noble North Carolinian cast, including members of fellow The Embers, then join him on backing duties. Oceanic soundscapes and emotive string arrangements contrast with a local joviality; 'One More Time', 'Music Makes Me High', and 'The Fox' are standouts, though the peak sensation 'Happy Is The Word' has to be our highlight, bringing boardwalk-strutter soul and pitchy electric organs to a well chorused mix.

Review: Monolake's defining third LP Gravity was the second album to be released through the artist's own Imbalance Computer Music, as well as the first to feature Robert Henke predominately, as his former partner Gerhard Behles became increasingly consumed by the foundations of what become the Abelton Live empire. Tense, percussive digital minimal techno ensues, setting steady beats against rattling, materially modelled sound design - the record's resonant overtones sound like sprockets undergoing tidal to-and-fros of suspension and release - this record sought thematic refuge in a universal force of natural law: gravity itself. After a recent reissue of Monolake's first album Hongkong, this turn-of-the-century affair - appearing on vinyl for the very first time - offers a shattered, breathy brand of minimalism, perfect for shrunken heads and demanding DJs alike.

Review: Trip-hop pioneers Morcheeba return in full force with a stunning 11th studio album, Escape The Chaos. Lead member Ross Godfrey says of the record: "this whole record is a process of trying to reconnect with what really matters, whether it's what in your heart, or with the world, putting your feet on grass and feeling the earth beneath you" says Ross Godfrey. Skye Edwards adds: "In a way, it's a homage to the thirty years of being in Morcheeba, which is 60% of my existence." Since forming in London in 1995, they've sold over 10 million albums, from their platinum-selling Big Calm to collaborations with David Byrne and film work with Steven Soderbergh; now 30 years in, their presence within trip-hop is felt again, with forerunning single 'We Live And Die' providing buzzing hugs of electric bass and clear, haute beats, as Edwards muses on the counterbalancing ups and downs of life.

Review: Formed in 1995, Morcheeba - Skye Edwards and brothers Paul and Ross Godfrey - have spent nearly three decades darning their organic trip-hop to the wider global music fabric, with ear-catching success. The London trio are now raring to contrast their debut statements Fragments of Freedom (2000) and Charango (2002) with a stylistic evolution and a paean to human peace of mind. Escape The Chaos comes after many a solo project, film score, and lineup change, all of which have heard Morcheeba relocate themselves on the popular music map, with far-Eastern instrumental echoes and cinematic sublimes once again bridging divides between classic and contemporary trip hop.

Review: Japanese artists Yumiko Morioka and Takashi Kokubo unite for a journey through blended piano, atmospheric synth and nighttime field recording. Both Morioka and Kokubo are pioneers of Japanese new age import, with the former lyricist, pianist and composer trailblazing with her sole 1987 album Resonance and the latter composer and musical environmentalist responsible for a string of geometrically-charged, fantastical LPs from 1980 onwards. Morioka herself makes a welcome return to music after taking a staunch step back to raise her family in the late 80s; her music has since been quietly cherished, and now Gaiaphilia evidences her not-lost ivorian flair, with her piano melding blissfully with pop-out sea- and soundscapes.

Review: Moskito's roots run deep in Tembisa, South Africa, where the pulse of the streets met the groove of kwaito. Founded by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group initially thrived as pantsula dancers before locking into the rhythmic power of kwaito. Their debut release captures the raw, unfiltered energy of that transition. 'Idolar' and 'Why Wena' kick things off with a heady blend of infectious vocals and bass-heavy beats, while tracks like 'Kwenzenjani' and 'Impohlo' bring their gritty, township roots to the forefront. Here, the music doesn't need to be refinedieach track, like 'Mashonisa' and 'Woza', is steeped in authenticity. It's the sound of a group at the crossroads of tradition and innovation, channeling the energy of their hometown while pulling from global influences to redefine the boundaries of kwaito. This is the essence of the genre, unfiltered and unpolishediraw, urgent and full of life.

Review: Marc Moulin's long career, establishing him as a pioneering figure in Belgium's music scene, continues its journey on this release, with tracks that weave together his signature blend of smooth jazz and downtempo rhythms. Beginning with the jazz-rock group Placebo in the 70s, Moulin later formed the electro-pop act Telex, which represented Belgium at Eurovision in 1980. As a solo artist, he merged jazz with electronic and downtempo sounds, collaborating with artists like Sparks and Lio. His production, marked by complex instrumentation and atmospheric depth, solidified his reputation as a key figure in both jazz and electronic music. Whether drawing from the cool jazz of the 60s or the laid-back grooves of 90s chillout, Moulin's music transcends genre boundaries. On this album, the music explores a subtle interplay of muted trumpets, congas, and guitars, blending sensual, smoky vocals with a deeply rhythmic pulse. There's an unmistakable touch of classic jazz, reminiscent of legends like Wes Montgomery and George Benson, while the rhythms pull you into a more contemporary space, aligning with the downtempo beats that were popular in the 90s. Tracks like 'Into The Dark' and 'What?' unfold with a breezy yet intricate sense of rhythm, offering both chilled vibes and moments of tension. 'Organ' offers a groove-heavy track, with its jazz roots merging seamlessly with a funk-infused, hypnotic backdrop. The bonus remixes serve as a fresh take on these original compositions. From the midnight mood of 'Organ (Cosmos Midnight Express Remix)' to the deeper house flavour of 'Into The Dark (Karma Fever Reminiscent Step Remix)', these remixes take the core of Moulin's vision and deepen it, offering something for both the jazz enthusiast and the dancefloor. This release crystalises a rich moment in Moulin's career as he updates the familiar jazz and downtempo idioms with the intricate, soulful grooves of funk and electronic experimentation, keeping his sound vital and relevant.

Review: Sold out since 2019 and fetching over $200 online, Mt. Fujitive's Sanctuary is a lo-fi hip-hop treasure pressed on pink vinyl. Reykjavik's beatmaker pays homage to his favourite genre here by crafting minimalistic grooves that transport listeners into tranquil soundscapes. Each track conjures a distinct mood, whether nostalgic, dreamy, or introspective, yet together they form a seamless and cohesive journey. Mt. Fujitive's mastery lies in his ability to evoke emotion through subtle vinyl crackle, warm tones and understated melody and all that makes it crucial for fans of mellow beats and lo-fi's calming aesthetics.

Review: Neapolitan funk maestro Mystic Jungle returns with a new LP less than a year after the dreamy Words of Love with more astrally-charged electro/boogie/disco type wonderment. Dario di Pace's third full-length has been quietly brewing for years, shaped by studio shutdowns and shifts in location i and that patchwork journey adds a certain character to the gorgeously technicolour music on show. It's perhaps his most eclectic and free-flowing release yet: a bright, hazy blend of styles that feels both loose and deeply considered. On the dancefloor end, tracks like 'Secrets' and 'Some Lovin'' burst with disco grooves, searing guitars, call-and-response vocals and sultry sax lines. Elsewhere, 'Innervision' and 'Twilight' lean into lovers rock and wavy neon-dub pop, full of yearning, shimmer and otherworldly flourishes. Then there's the stoner sway of 'The Road' and 'Get Me Higher' i sun-soaked, psychedelic jams with zoned-out soul at their core. A richly immersive Amalfi joyride from start to finish, the Periodica fire just keeps on burning.

Review: New York legend Louie Vega and Detroit icon Moodymann - two titans of house with deep but divergent lineages - collide again on 'Seven Mile', reissued here as a hefty double pack with remixes. Originally released in 2022 on Vega's Expansions in the NYC LP, this expanded edition gathers fresh reworks from trusted names across the house spectrum. Dennis Quin goes punchy and percussive, Kai Alce turns in a soulful NDATL roller, and Rocco Rodamaal teams up with Alex Finkin before offering two lush solo interpretations across the C-side. Vega's own instrumental demo mix adds vintage bounce, while Charlie Soul Clap, here credited as Charlie Levine, delivers an ecstatic final pair - his 'Wild Version' the most unhinged of the lot.