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


Berlin-based Korean Peggy Gou has been surprisingly quiet since first bursting onto the scene back in 2016. Here, she returns to action having graduated from Technicolour to parent label Ninja Tune. Many may already have heard EP standout "It Makes You Forget (Itgehane)", a percussively ambidextrous beast based around a bouncy, off-skilter, snare-heavy rhythm track. It has been much discussed online after Gou included it her recent Resident Advisor podcast. On the B-side you'll find tracks representative of her developing style, which draws together elements of European deep house, electro, early '90s U.S house, the rubbery disco eccentricity of Maurice Fulton and the instinctive polyrhythms more often found in traditional African music.

Review: This is techno, but not as we know it from the Vigenere. Sparagamos (a fitting name given the word originally means to render, tear apart, or mangle) is behind these freaky beats but we nothing more about the artist. Suffice it to say they sure do have a fine grip of their studio and can manipulate sound in some thrilling ways. The opener is a warp-speed warehouse banger with distorted bass and manic energy, track two explores sludgy acid techno underworlds and track there is a twitchy cosmic workout with serene pads. 'Track 4' is a world of dystopian robotics while the flip side offers tripped-out, double-time dub techno, more acid intensity and experimental mind melters with exceptional sound design.

Review: Having previously successfully turned her hand to house and disco - many of our top pop performers have always been shapeshifting musical magpies (hello Madonna) - Beyonce Knowles Carter has now delved into the world of country music. No doubt you'll be bored of the endless discourse around Cowboy Carter, but that doesn't stop it from being a genuinely good album - a brilliant fusion of neo-soul, r&b and, yes, country music instrumentation that wisely leaves Beyonce's incredible voice front and centre. There are some genuinely notable covers - see her takes on the Beatles 'Blackbird' and Dolly Parton's 'Jolene' (featuring an introduction from her Dollyness) stand out - but the most striking songs are by and large her own work. For proof, see 'American Requiem', 'Most Wanted' (with Miley Cyrus), 'Sweet Honey Buckin' (with Shaboozy) and 'Tyrant'.

Review: In 1994, legendary hip-hop stoners Cypress Hill took the stage at Woodstock '94 and left an indelible mark on the iconic festival. With their groundbreaking fusion of hip-hop and rock, the 'Hill captivated the Woodstock crowd with their electrifying performances and brought all of the raw energy and innovative sounds they are so well loved for. The group's set at Woodstock '94 showcased their ability to command any stage, drawing fans from diverse musical backgrounds as they worked through many of their most well loved hit and in doing so solidified their status as pioneers of the rap-rock genre.

Notes: Maggot Brain Issue 16: Spring 2024

This is a really packed, special issue of Maggot Brain, with the feature cover story a comprehensive interview by celebrated writer Sasha Frere-Jones with essayist, Lucy Sante (who's written for every issue of MB since the start), on the occasion of her awesome memoir about transitioning, I Heard Her Call My Name.

Phill Niblock: A tribute to the genius musician, filmmaker, label head, and generous promoter of ecstatic sound, by Steve Silverstein.

Tresa Leigh: An in-depth feature on the star of Efficient Space's beloved Ghost Riders compilation! Really a beautiful, untold story.

Dredd Foole: As his legacy is revealed through Corbett vs Dempsey's archival series, Foole talks to Six Organs of Admittance's Ben Chasny about the role of his band the Din in the Boston underground. Plus sidebars from Christina Carter, Kris Price, and Phil Milstein.

Loopsel: Mike McGonigal on some of the most elusive, beautiful contemporary music, straight out of Gothenburg.

Jeff Noon: An illuminating interview with the British speculative writer on his newest work as well as the 30th anniversary of the stunning Vurt.

Sleater-Kinney: 30 vital years of uncompromising music, by none other than Audrey Golden!

Hudson of Feature Inc.: A celebration of the most innovative gallerist of our lifetime on the occasion of the Soberscove Press book about his work and life.

Shabazz Palaces: The creator of vital, spiritual hip-hop beautifully interviewed by Detroit-based musician and writer Zachary Weedon.

Birtha: Nate Carson's in-depth feature on the pioneering, all-women boogie-choogle act.

Shonto Begay: One of Maggot Brai's favourite contemporary writers, JD O'Brien, in deep discussion with the great Native American painter-with particular emphasis on how his works engage with and are influenced by music. This piece alone is so well-written and illustrated it's worth buying the issue for.

Some columns: The debut of archivist Andy Zax's fabulous 'Extinctophonics' column! Cassette reviews, plus copious book and record reviews as well! Ana Gavrilovska on Detroit-based jazz duo Balance! Nate Carson on the Earth documentary, in the debut of the music documentary column! The latest Icons column finds Michelle Dove exploring the work of Chicago's beloved Douglas McCombs! 13 Questions for contemporary folk great Lael Neale by Mike McGonigal! And more Lucy Sante!

Review: There's been rather a lot of noise about Jaguar II, Victoria Monet's much-delayed full-length follow up to 2021's Jaguar mini-album. The hype is, in many ways, understandable - it did recently scoop the 'Best R&B Album' award at the GRAMMYs. More importantly, it's also very good, with the decorated songwriter-turned-pop star confidently serving up retro-futurist gems who's punchy 21st century r&b beats come cloaked in musical motifs that frequently offer nods to black American music of the 1970s, 80s and early 90s. The plentiful highlights include Lucky Daye hook-up 'Smoke', the dancehall-fired excellence of 'Party Girls' (featuring Buju Banton), the Fugees-esque beauty of 'How Does It Make You Feel', and the glossy disco-soul dreaminess of 'Hollywood', where her young daughter Hazel and Earth, Wind and Fire both play starring roles.

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


Pleasure of Love reissue imprint, New Islands, launches with a quiet stormy, soulful Balearic stunner. Kim Yaffa's 'Once Bitten' was recorded in LA and released on a 1989 private press 7", only to be buried in American record bins for decades after. A re-emergence of Yaffa's music on the internet in the last couple years has reached a fever pitch, with collectors thirsting after copies of the record. Now, New Islands has worked directly with the artist to deliver an official reissue, professionally transferred from the mixdown reels, carefully restored, and remastered. The track is an effortless class-act pop tune, with 80s blue eyed soul / Sade inspired sounds, and unknowingly Balearic production that renders it timeless (it's reminiscent of Linda Di Franco, Edie Brickell or 80s Fleetwood Mac). The 12" is rounded out by new mixes from Michael David (Classixx) and Nick the Record & Dan Tyler (Record Mission).

Review: Amsterdam-based techno purist Keith Carnal has established his own SEC ND- imprint with plenty of fine and no-frills outings before now. Here he returns to the label and drops his Verbal Response EP which is packed with energetic cuts. 'Cynicism' is a tunnelling groove with train-like drum loops and pulsing synths that bring the edge up top. There is a lo-fi greyscale atmosphere to the techno tension of 'Exorcism' with its smeared chords and 'Altruism' then gets more upright and bouncy with hammering hits and brushed metal drums all making you march. 'Heroism' is last up and brings the most intense sound of the lot thanks to a manic lead.

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


During a record digging trip to South Africa a year or two back, Rush Hour co-founder Antal stumbled on an obscure local cover of Klein & MBO's Ron Hardy and Larry Levan favourite, "The MBO Theme". The Warrior version, which was recorded at some point in the early '80s, is a little slower and breezier than Klein and MBO's original, with even finer fretless bass flavours and the track's famous melodies re-played on some particularly spacey synthesizers. Helpfully, the Klein & MBO version is on the A-side, so you can easily compare the two: Warriors' little known cover is definitely our pick of the pair.

Review: It's been seven years since the tragic passing of Chester Bennington and the abrupt end of nu-metal legends Linkin Park, while their legacy remains praised and intact by avid fans. Papercuts offers up a career-spanning greatest hits collection, yet rather than sequencing each bundle of tracks chronologically in terms of specific album release, the cuts are mixed with the design of flowing as naturally as possible, with the anthemic 'Faint' from 2003's Meteora rubbing shoulders with their iconic Jay-Z Collision Course collab 'Numb/Encore'. Elsewhere, 'One Step Closer'; the breakout single from 2000's genre-defining debut LP Hybrid Theory is followed directly by 'New Divide', which served as the lead single from the Transformers: Revenge Of The Fallen soundtrack. From their rap-metal beginnings to their signature style of nu/alt-metal to the their calmer accessible later era, this compilation delivers a succinct yet sprawling distillation of Linkin Park's most vital contributions to the several dynamic scenes they helped to elevate.

Review: It is always hard to predict just what Nous Klaer Audio might serve up next. In this case, the always-fresh Dutch label looks to Mata Disk for four innovative and rhythmic techno workouts. 'Icon' is a busy one with kinetic rhythms and busy hits that pepper the groove and keep you moving. 'Diffusion' is just as much in a hurry with its squelchy synth blasts and sucky, looped drums but also there are more thoughtful and cosmic pads to bring a different energy. 'Two Sides Of The Same Coin' keeps the restless sense of rhythm alive - nothing here feels tethered to a strict grid. 'Space Brings Us Together' is a final off-kilter techno bumper with more sci-fi synth designs.

Review: Mark Knopfler's 2023 album, One Deep River, is a written diary through the heartland of Americana. Demonstrating his mastery of storytelling, Knopfler intricately weaves tales of life's trials and triumphs, evoking a poignant reflection on the human experience. Each track showcases Knopfler's signature guitar work and soulful vocals, transporting listeners to dusty highways and riverbanks at twilight. From the introspective 'Beneath a Prairie Moon' to the bluesy swagger of 'Ride On Across,' Knopfler's ability to paint vivid landscapes through music is unparalleled. 'One Deep River' resonates with timeless allure, embodying Knopfler's status as a guitar troubadour of the modern era.

Review: 'Black Cinderella' which harriers on this new 7" as both a vocal and a dub, was written by Max Edwards Asher and offers a soulful and thought-provoking musical experience that challenges perceptions and societal norms. Originally engineered in Studio 1, this track reimagines Cinderella as a woman of colour. Written by Jimmy Rodway, the song aims to empower black women and urges them to envision themselves as the desired fantasy character. The limited edition 45 rpm showcases Asher's masterful production and features a lovely warm and inviting analogue sound and poignant message of empowerment and inclusion.

Review: Sunset's reissue series of Harry J releases continues with this gem from the late, great Freddie McKay's 1986 collaboration with The Jah Apostles, one of the last productions to feature the singer - who seamlessly navigated from the early ska days right up to the digital era - before his untimely death in November of the same year. McKay's soulful vocals ride effortlessly over the Apostles' mesmerising rhythms here, meaning that it is impossible not to be transported listeners to the golden shores of Jamaica at sundown. As is so often with the case with reggae, there's a dubbed out version on the flip - we wouldn't have it any other way.

Review: The dynamic duo Octave One starts off 2024 with a new EP that features new versions of two of their own classics and a brand new song. 'Price We Pay' has two remixes featured here, with the both being massive main stage crowd pleasers. 'Mirror Image' is a slick downtempo track that shows the pair's creativity for making great dance music. Last, the new version of 'A Better Tomorrow' is updated to be more futuristic and spacey. Messages From The Mothership Volume 1 are a great sign of things to come as Octave One explores more of their long and impressive discography.

Review: We always feel that a one-sided 12" is a real sign that an artist are label are hugely happy with what they are seeing up. And Adam Goldstone has every right to feel that way frankly as his 'Edge of the Night' is a classic deep house sermon that will bring plenty of emotions to the fore when it is dropped, either in the dead of night or just as the sun is coming up one morning, much like a tune such as Ron & Chez's 'Morning Factory'. The smoky vocals are well-treated, the smeared pads bring the soul and the drums and cuddly and warm. Perfect.

Review: In 1975, Silver Convention burst onto the global stage with their hit song Save Me, introducing the world to The Munich Sound. The album included the Grammy-winning smash hit 'Fly Robin Fly,' which topped both the disco and pop charts for weeks and became the band's signature song. Now, Omnivore Recordings and Good Time Records present an expanded reissue of this classic debut, featuring five bonus tracks and insightful liner notes detailing the album's genesis and global impact. With its original international cover art and a 12-page color booklet filled with photos and ephemera, this reissue is a must-have for fans of Eurodisco and music history enthusiasts alike.

Review: Aniara's white label number four delivers more techno goodness direct to the dance floor. The A-side features two of Arkajo's most compelling dance-floor tracks, with both offering a propulsive groove and warped and dubbed-out basslines. On the flip side, Dorisburg and Efraim Kent (who are here making their debut on Aniara) present the darker vibes of 'Data Smuggler' which rides on broken beats and has real menace in the airwaves. It complements the A-side with a more deep mood and hypnotic rhythm that will be pure dancing bait.

Review: Robert Witschakowski has been a man on an electro mission (as well as many other side mission, to be really quite honest) for as long as we can remember. His furtherment of electro knows no bounds and it has often come in association with Dutch label Clone and its offshoots, though here he has his They Arrive EP reissued by fellow Dutch label Creme Organization. It landed first back in 2011 but has aged like fine wine and sounds as good as ever - there are a mix of creepy and atmospheric pieces, sick dancefloor rhythms and plenty more to enjoy here.

Review: The second part of Sushitech's three-part vinyl-only series looking at the work of Dexter is another 12" doozy. The UK underground mainstay has been behind many cult and much sought-after records over the years and they all fuse obscure dub and acid tech house in smart ways. They were recorded between 1997-2004 and if you can find any OGs then you will be paying upwards of 100 quid for them. This slab has three driving but deep sounds carefully detailed with wispy pads and filtered vocals for perfect backroom deployment.

Review: Past Moves III is the final instalment of the vinyl-only series served up by Berlin's ever-well-curated and cultured Sushitech label. It is another essential 12' that packs in plenty of heat from the long-time UK favourite. His records are hard to find and expensive when you do and this collection highlights some of his superbly blended acid, dub, tech and house grooves from back between 1997 and 2004. On this one, you will find a pair of weighty, warm, and dubbed out tech cuts with bounce in the drums and Detroit soul in the pads. Timeless stuff.

Review: This is the third installment in the Local Sugar Diggers Series from Scruniversal in which old and rare records from the label head's friend's collections get reworked and edited. This one is a collab between ScruScru and an equally passionate digger from Cyprus known as Dwaal. Both tunes offer quite different looks but with great results. The first is the steamy and loose-limbed 'Destination? Funk!' with its squelchy bass and neat guitar riffs, while the flipside is a super deep and lush downtempo jam, 'Camelot Chill'. This one has romantic sax notes and gentle grooves with jazzy keys finishing it in style.

Review: Pilot is one of the many labels in the orbit of the unstoppable production force that is Burnski aka garage innovator Instinct. It deals in proper club tackle from a wide range of artists and here it is Hatori Hanso that offers up the brilliance. 'Low Rider' opens with a very familiar hook and some deep, deep half sung, half spoken vocal, before nimble live bass, brass and crispy breakbeats bring the party. 'Cherry On The Cake' is a lively house cut littered with James Brown samples and screwy synths that keep the pressure on. 'Don't Know Why?' closes proceedings in a more cool and breezy tech house mood, with sci-fi designs, to complete a set of varied but reliable frug-starters.

Review: Italian label Roof Club aims to raise both ceilings and roofs, and continue to do so with their latest EP from Guile. Mixing a contemporary minimal approach with classic 90s sounds, this one's a neat fusion of progressive house and trance, with sprinklings of cheesy freestyle and acid thrown in for good measure. The jokingly titled '90's Generator' is the real highlight, with its orchestral hits and licky leads.

Review: Three lovely, carefully terraformed dub tekno sketches from new co:clear recruit Eden Aurelius. Both in title and soundworld, these pieces strongly evoke slow-panning aerial shots of undulating terrain, gusts of wind through glistening skyscrapers and diffused sunlight through striated cloud. A stretch maybe - but a stretch informed by years of dub techno semiotics from precursors like Rod Modell and Pub, whose visually evocative sonic staging doubtless laid some of the groundwork for records like this. There's a formalism and orthodoxy to Aurelius' work, marking it apart from the glut of neu-ambient ASMR-scapes from labels such as INDEX and 3XL. Take the cathartic pulse of title track 'Plateau', for instance, which deftly weaves cavernous swathes of vocals and band-passed chord stabs into something that would sound equally at home on SUED or echospace. Real nice.

Review: 1994's original pressing of Steely & Clevie's outstanding leftfield production with Johnny Clarke's vocals is a dub well worth inspecting. Except you might struggle to find one these days, and it will be pricey if you do, because it has become something of a classic 45. Thankfully it gets reissued here with A-side original 'Leggo Violence' rolling lazy drums while the Clarke vocals soar high and sweet despite what they sing about. On the flip is a smooth rolling version that allows that super bassline to do its thing free from any distraction, and all with extra dub goodness.

Review: Contemporary jungle Renaissance crew Omni Music continue to look back over their vaults for more vinyl reissue gold. This time, two tracks from Pariah's 2017 'Selected Works' series. Two very different approaches to the jungle style; 'Meltdown' is a big dreamer of a track with its lush pads and subtle sense of drive and momentum while 'Metal Hero' is a much more punishing affair with uncompromising breaks and an aggy energy that will cut into any mix creatively. Both absolutely slap.

Review: Aniara's output has always been brilliantly designed for club deployment but could never really be considered as mere tools. The artists who appear on the Swedish imprint have a cultured sound and a knack for crafting maximum impact from minimal elements. Enter Mattias El Masouri who does just that with the sublime 'Time Dilation In Ultraviolet'. It's a hypnotic deep house cut with real drive that's down to the deft broken kick drum patterns, pulsing synth and heady pads that swirl above. 'Inre Dimension' is a 13-minute plus sonic daydream with paddy drums, drumming pads and perfectly airy hi-hats that anchor you in the heart and now as your mind wanders.

Review: Reissued in the aftermath of her passing away in 2023, Souvenirs is probably the best-known album by Ethiopian legend Emahoy Tsege Mariam Gebru, whose morphing from nun to composer, pianist and vocalist tracks an exquisitely bleak but powerful history. The first album to feature her own voice, the album was written and recorded at her family home in Addis Ababa, and deals in personal themes of loss, homesickness and transience, reflecting on Emahoy's experiences of the turmoil of the 1976 Red Terror in Ethiopia, in which the provisional Derg military dictatorship violently suppressed the rise of other competing revolutionary militia groups, and in so doing caused mass upheavals and migrations. With lyrics sung in Amharic and overlaid against uniquely mournful DIY instrumentations, Mississippi's CD reissue reminds us of its heart-warmer status, betraying Emahoy's deep familial fidelity and integrity.

Review: The latest offering from serial collaborator and cross-genre tastemaker Stephen O'Malley's Ideologic Organ imprint is a tender filigree bureau of acid folk sketches from Tokyo's Ai Aiso. Across seven tracks, she patiently meanders through broken and phased chord progressions, her simultaneously pure and wavering vocal lines forming elegant arcs over sparse beds of instrumentation and washes of room tone. Some tracks are bookended by applause, and it is this ostensibly 'indoorsy' atmosphere which lends the mini LP a great deal of charm; the delicate atmospherics seem to issue from an intimate and isolated space. Indeed, Bandcamp user Everyvillianislemons317 describes it as "The perfect album for a lonely night in the city." We're more than inclined to agree.

Review: Sushitech is back with another of its sublime vinyl-only projects and this one focuses on the work of Dexter. There will be three 12"s in all that draw together some of the producer's finest moments. He is a truly cult figure amongst those who know and he served up a fresh take on tech, acid, dub and house between 1997 and 2004 when these tracks were first made - if you can find any of those original records prepare to pay loads for them, or else dive into Past Moves I. It has a brace of slick, tightly programmed cuts underpinned by rolling pads with lovely lo-fi pads up top. Heady stuff.

Review: Alleviated's Larry Heard reissue series has previously brought us the rough and tough acid of Gherkin Jerks and, more recently, the intergalactic downtempo grooves of his largely overlooked Alien LP. Here, they revisit one of Heard's later aliases, Loosefingers, dusting down and reissuing tracks from 2003's Glancing at the Moon EP. All three tracks are deep, warm and melodious in typical Heard fashion, with the title track delivering a sultry blend of wide-eyed chords, darting electronics, Latin-influenced percussion and tactile keys. "Deep Inside" delivers a hazy, sun-kissed take on soulful house - all jazz bass, sensual chords and gentle vocals. Best of all, though, is the tougher, synth-heavy "Lamentation", which rolls along at a near techno-tempo and is blessed with thrilling bleep melodies.

Review: New to Crosstown Rebels' 12"s encampment is producer HoneyLuv, who impresses on her debut release for the Damian Lazarus-run label with the fresh heat that is 'Right Spot'. Corralling remixes from Dennis Ferrer and Byron The Aquarius, HoneyLuv's palette is watery, polyrhythmic, hip-housey and fast-moving, channelling every smart move from transitional 'wubs' to tambaleironautic drum progressions, which back up the beats firmly, and move so fast that they could probably snap an ossified hipbone if played back loud enough. The track's central vocal is also an original vocal, pleading with the listener that they meet HoneyLuv at the correct rendezvous, aka. the 'spot', in order to catch the right rave-wave.

Review: DJ Agitated is an alias of a producer who we are told made an appearance on the superb remix album that reworked the best of Steffi's The Red Hunter. Now they join the Dolly TS series with some banging techno that surges along at high speed and never lets up. The Magic Overlooked EP is one that makes no concessions to current trends but instead taps into the essence of good techno no matter when it is made. The melodies are infused with plenty of soul from Detroit, the drums are well-designed and the moods are hard but uplifting.

Review: We're big fans of this label here at Juno HQ as we have said before and how can you not be when it serves up soul as good as this? Mel Day delivers authentic deepness with 'Every Day I Try.' It is a heartfelt lament for lost love that is backed by the accomplished Tito Lopez Combo and some magnificent instrumentation. On the flip side, 'Baby Girl' sees Mel channelling the spirit of Joe Tex with confidence and flair. Produced under license from music maestro Harbans Srih, this vinyl-only release harks back to the golden era of soul music and is sure to prove a timeless modern classic.

Review: This Hawaii-based label consistently delivers soulful gems like this which is why we love it so much. Mel Day brings genuine depth with 'Every Day I Try,' a poignant reflection on lost love, complemented by the talented Tito Lopez Combo and superb instrumentation. On the other side, 'Baby Girl' showcases Mel's confident and stylish channelling of the spirit of Joe Tex. This vinyl-exclusive release, produced under license from the esteemed music maestro Harbans Srih, pays homage to the golden age of soul music and is destined to become a timeless modern classic.

Review: Lynn Davis, known for her illustrious career as a backing vocalist and member of George Duke's band, continues her solo journey with 'Beautiful You, her second single. Following the success of her debut release, 'Come Over,' Davis showcases her vocal prowess and sensuality once again in this sophisticated r&b ballad with a touch of jazzy swing. In 'Beautiful You,' Davis sings of recognising the inner and outer beauty in her partner, expressing gratitude for finding someone who surpasses expectations. The song beautifully captures the feeling of discovering that something seemingly too good to be true is, in fact, real. With its soulful melodies and heartfelt lyrics, 'Beautiful You' is another standout track from Davis, reaffirming her talent as a solo artist.

Review: Analogue is the Greek label which takes no prisoners in its pursuit of pure techno perfection and that's abundantly clear on this latest Various Artists drop, as Dax J kicks into gear with the searing, pummelling intensity of 'Ares'. It's a proper fist-shaker which sets you up for the hi-octane rumble of Kaiser's 'Kal' and ANFS' industrial jackhammer 'Amete'. That leaves Jerm to clean up with another weapons grade sheller driving ever-downwards in the ultimate ticket to peak time submission. This is techno in the toughest sense of the word - a very specific sound executed perfectly.

Review: Shewey Trax welcomes California-based Delicate Instruments aka Delinstr for a pair of cosmic new cuts that he serves up as two different mixes each. Opener '2 Another Planet' (Superspace Breakdown mix) has sugary video game melodies raining down like old school Mario or Tetris over thudding deep house kicks. The Delisntr Speed Down mix brings some twitchy acid details while 'Solamente' (Problems mix) is another beguiling mix of 8-bit melodies and supple drums that tap out hypnotic patterns while floating through space. The final Synth mix of the same cut is a more widescreen and far-sighted take to close out a perfectly astral EP.

Review: Big Love records assembles four talented artists for the 5th edition of A touch of love. The compilation opens with Seamus Haji's 'Dance With Me', a spirited house track featuring Kathy Brown's powerful vocals and a driving beat. Illyus & Barrientos contribute 'Wait' featuring Phebe Edwards, a melodic house track with disco influences, soaring strings and rhythmic percussion. The B-side features Richard Earnshaw & Mr V's 'This House Is Yours', a party-ready disco house track perfect for the dancefloor. DJ Meme's 'Century' concludes the compilation with a deeper, more melodic offering. Together, these four tracks offer some great opportunities to make a dancefloor happy.

Review: Now That's What I Call Music extends its exploration of 1980s extended mixes with a comprehensive 4CD set, delving into the vibrant musical landscape of 1982 with Part 2. This expansive package boasts a staggering 49 mixes from iconic artists of the era, offering a diverse and captivating journey through the sounds of the 80s. Listeners can expect to rediscover extended versions of hits from Wham!, Duran Duran, Talk Talk, Soft Cell, Japan, Simple Minds, Heaven 17, The Associates, Thomas Dolby, Visage, ABC, Blondie, China Crisis, and many more. Each track showcases the innovative production and infectious energy that defined the decade, providing a nostalgic trip down memory lane for fans of 80s music.

Review: This project, which translates to "The Way of Music" in English, is a collaborative initiative spearheaded by Groh, founder of the esteemed Polish hip-hop label JuNouMi which was established in 2002. It marks a fusion of talents between Polish and Japanese artists and commenced with Twardowski crafting music using samples from Japanese albums followed by the inclusion of MCs KANETSUGU and Prykson Fisk. DJs 1an from Tokyo and DJ Eprom from Warsaw joined the ensemble while the design, handled by Magorzata "Mauko" Korczak, explores Japanese Shod? calligraphy. This 7" release marks the start of a new Polish-Japanese collaborative series with more to come.

Review: Son of Todd Osborn (Soundmurderer/Ghostly) Kaito Ian makes a hugely impressing first outing on the Galaxy Sound Co label with a series of lo-fi hip-hop beat-strumentals that cannot fail to get your head nodding. He is a dedicated music lover and skater with a deep knowledge of his craft and that shows here with some refined sounds starting with the soul drenched 'Revert', then on to the warped angelic vocal samples of 'Sequoia' and the percussive jumbled and scratching of 'Trek'. 'Wait Up' is another excellently blissed out joint and 'Sloan' is a sunny, laid back, lazy vibe to close down a superb EP.

Notes: The top cover story this issue: the Futuristic Sounds of the Yardbirds; writer Peter Stanfield explores their change of direction in 1965, their rivalry with The Who and lots more. Also featured: Detroit rock pioneers the Chosen Few, the band that spawned future members of SRC and the Stooges, the compelling story of UK '70s punk outsiders the Subway Sect as told by guitarist Rob Symmons; '70s power pop princes the Paley Brothers; Viennese proto-punk anarchists Novaks Kapelle; the sixties adventures of Matthew and Daniel Moore (the Moon, Colours, Matthew Moore Plus Four); and a fascinating study of the beat music industry behind the Iron Curtain during the Cold War. Plus: Moby Grape, the Ascots, Cyril Jordan on Little Richard, and our meticulous review sections, covering all the latest vinyl and CD reissues, and rock 'n' roll-related books. (152 pages)

Review: Mute's re-release of These Immortal Souls' debut album, Get Lost (Don’t Lie!), marks a long-awaited moment for fans of post-punk excellence. Remastered from the original tapes by Lindsay Gravina, along with original band members Harry Howard and Genevieve McGuckin at Birdland Studio, this edition breathes new life into the iconic record. Originally unleashed in 1987 on the heels of their debut EP, Marry Me, the album encapsulates the band's raw energy and uncompromising vision. Led by the unmistakable vocals of Rowland S. Howard, renowned for his work with the Birthday Party, the band's lineup, including Harry Howard, Epic Soundtracks, and Genevieve McGuckin, solidifies their place in the annals of post-punk history. Clocking in at a concise 30 minutes, Get Lost (Don’t Lie!) remains a potent sonic statement, capturing the essence of These Immortal Souls' dark and brooding sound. From the haunting atmospheres to the frenetic rhythms, each track is a testament to the band's collective talent and creative chemistry. For both seasoned enthusiasts and newcomers to the These Immortal Souls saga, this reissue serves as a fitting tribute to a band whose influence reverberates through the underground music scene.

Review: Mute's latest offering, Extra, unveils a treasure trove of live recordings and remastered tracks from the enigmatic post-punk outfit These Immortal Souls. Led by the inimitable Rowland S. Howard, known for his pioneering work with the Birthday Party alongside Nick Cave, the band's Australian roots infuse their London-based sound with a unique edge. This album, accompanied by detailed sleeve notes by original member Harry Howard, serves as a companion piece to the 2024 remasters of their seminal debut Get Lost (Don’t Lie!) and sophomore effort I’m Never Gonna Die Again. The tracklist is a akin to the band's eclectic tastes, featuring visceral renditions of classics like Alice Cooper’s 'Luney Tune' and Iggy Pop & James Williamson's 'Open Up and Bleed.' With Rowland S. Howard's distinctive vocals leading the charge, complemented by the masterful musicianship of Harry Howard, drummer Epic Soundtracks, and keyboardist Genevieve McGuckin, These Immortal Souls deliver a sonic journey that transcends time and genre boundaries. Formed in 1987 after departing Crime & the City Solution, These Immortal Souls carved out their own sonic niche, blending raw energy with haunting melodies. Extra offers a glimpse into the world of one of post-punk's most underrated gems.

Review: Mute's reissue of These Immortal Souls' sophomore album, I’m Never Gonna Die Again, is a long-awaited gem for fans of the band's dark and brooding sound. Remastered from the original tapes by Lindsay Gravina, along with original members Harry Howard and Genevieve McGuckin at Birdland Studio, this edition breathes new life into the haunting melodies and gritty textures of the album. Originally released in June 1992 after a hiatus due to Rowland S. Howard's writer's block, the album marked a triumphant return for These Immortal Souls. Lead single 'King of Kalifornia' set the tone with its gritty intensity, showcasing the band's evolution since their debut. Joined by Anthony Thistlethwaite on saxophone and slide mandolin, the band's lineup remained formidable, with Rowland S. Howard's distinctive vocals and guitar work leading the charge. Alongside Harry Howard, Epic Soundtracks, and Genevieve McGuckin, they crafted a sonic landscape that was both haunting and hypnotic. For fans of post-punk and dark wave, I’m Never Gonna Die Again remains a standout in These Immortal Souls' discography. With this reissue, Mute pays homage to the band's enduring legacy, ensuring that their music continues to gain new fans for years to come.

Review: Producer Soul Supreme is back with another 7" record, delivering two new phat'uns to that subsection of fans who prefer things on the wonkier side. Following earlier, acclaimed tributes the likes of A Tribe Called Quest, J Dilla and Mos Def, the new 'Dues and Don'ts' b/w 'Fraud Fades' 45 features two, all-original jazz-funk groovers by the Amsterdam-based keyboardist and producer. The former track burns slowly, carefully building up around a harpsichord improv, Herbie Hancock style, coming heavy-set by a thick and booming drum backing that soon enough late-blossoms into a cinematic, stringed soaring-on-high. The latter track pays complementary homage to the funk drum breaks of yore, with the central drum line around which the track is built echoing Serge Gainsbourg or Clyde Stubblefield, albeit making conspicuous its own electronically sequenced, not entirely live-performed, feel.

Review: For the legendary label Tresor to put out a breakbeat record is something very rare. The ardent techno label for over 30 years is clearly telling us without saying, how good this music is. Tresor is always in touch with rave music though and it's not fully surprising that Tresor would support any music that is so reminiscent of the old skool days like Digital Entropy is. Datashader rises from the depths to give us their wicked debut. The EP is an audio onslaught that combines blistering breakbeat gems like 'Velocity 04.22' with eerie sci-fi pieces like 'Sync Out Off'. The AFX like 'Fong' and 'Sub Osc" are early favorites from those who have heard samples of this haunting record. It is rare to see the power of rave, breakbeat and IDM presented this well on one record.

Review: One of the most successful and enduring techno labels has been the Dutch based Planet Rhythm Records. For over 30 years now the label has helped launch and propel the careers of some of the biggest names in the genre. One such name that the label has helped grow is Muzmin and 'The Bulb' EP is his fifth release for them to date. These heavy, grooving rhythmic tracks have just the right amount of percussive elements to give the tracks some melodic moods, 'The Bulb' itself having an eerie, sci-fi mysterious feel to it giving us Purpose Maker impressions. On 'Yuklem', the loopier underlying is particularly sick. 'Kran' also does a great job of feeling aggressive yet reserved in some aspects. This gives the track an excellent laid-back sound or a very heavy one depending on what you want to hone in on listening. That is a hard balance to have in heavy techno so we give Muzmin major props for having that experience and skill to pull off. This is no nonsense techno that fits perfectly into the fabric of the sound that the label has fostered.