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Review: classic 2010 Theo Parrish album Sketches back in stock on CD.

Review: Of all DJ duos currently operating in British dance music, Belfast boys Bicep might be the hardest to pin down (Optimo aside, of course). Certainly, this debut album is not easy to pigeonhole, though it is an enjoyably cohesive listen. This is largely down to two factors; the frequent use of deliciously colorful and loved-up synthesizer parts, and the duo's innate ability to utilize beats tailor-made for dancefloor devastation. So while keen dancefloor historians may notice sly (and not so subtle) nods to '89 rave, U.S house and garage, Italo-disco, late '90s progressive house, jungle and early British hardcore, the album never sounds anything less than a fine set of Bicep tracks. Expect it to be one of the biggest albums of the year.

Review: Over the years, Sam Shepheard's work as Floating Points has become increasingly ambitious, moving further away from his dancefloor roots and closer to spiritual jazz, new age and neo-classical. Even so, it was still a surprise when Shepheard announced Promises, a 46-minute piece in 10 "movements" featuring the London Symphony Orchestra and legendary saxophonist Pharoah Sanders. It's an undeniably remarkable piece all told; a constantly evolving fusion of neo-classical ambience, spiritual jazz and starry, synthesizer-laden soundscapes notable not only for Sanders' sublime sax-playing and Shepheard's memorable melodic themes, but also the intricate, detailed nature of the musical arrangements. It's a stunningly beautiful and life-affirming piece all told, and one that deserves your full attention.

Review: Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand. Yet despite this, his music speaks loud and wide, and the world has been listening ever since his 'South London Boroughs' EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many 'best of' polls. Now Burial returns with 'Untrue', a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with the debut's crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Kicking off with the skittering 2step syncopations and vocal science of 'Archangel', 'Near Dark' and 'Ghost Hardware', before long it descends into a space of radiant divas and ambience. Where 'Burial' first was humid, suffocating and unrelentingly sad, 'Untrue' is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria typified by the epic, muted optimism of the album's last track 'Raver'. Forget central heating the radioactivity of this album is all that you'll need to keep you warm this winter. 'Untrue' is available as full 13 track digipack CD, including recent underground hit 'Ghost Hardware', and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.

Review: Twenty years ago it sounded like an oddly poignant evocation of pre-millennial tension. Two decades later it stands as an eerily prescient glimpe into the technological alienation and dislocation of of a new era. Yet more importantly, OK Computer is no more or less than a sparkling, dramatic and moving collection of songs that haven't lost any of their impact in the interim. The sound of a band stubbornly refusing to follow up the stadium-strafing stylings of its predecessor The Bends - and instead bursting headlong into experimentation and wild creativity -is portrayed in still more vivid colours by the alarmingly strong collection of out-takes and B-sides collected herein, Yet there's no getting away from the chill and spark that marked out OK Computer from everything surrounding it in the post-Britpop malaise, and continues to do so in the pre-Brexit counterpart.

Review: The 1975's last two albums were, by their standards, quite experimental, with the band taking the opportunity that fame and success afforded has afforded them to try their hand at all manner of styles - many of them a bit more overtly dancefloor-centric than diehard fans were expected. There's no such widescreen vision on 'Being Funny in A Foreign Language'; instead, they've gone back to basics and turned in a set of strong, addictive, singalong songs that sounds like radio anthems in the making. For proof, check the glossy AOR synth-pop cheeriness of 'Happiness', the fragile, eyes-closed Americana of 'Part of the Band', the indie power-pop bounce of 'I'm In Love With You' and the sparse, slo-mo, lo-fi fuzz of 'All I Need To Hear'.

Review: There's a chance this Liverpudlian four piece will be familiar by now. This, their 11th studio outing, first unveiled as the 1960s slipped into the 70s, is a bonafide epic from an outfit that weren't lacking in epics; in many ways a culmination of their time together, marking the end of their active years and beginning of their legacy. By this stage, then, they've emerged from years spent on the inner journey and time on the outer, space cadeting to the hallucinogenic fuelled tones of "Sgt. Peppers" and "Revolver". Of course, there's still plenty of explorations happening, but the gritty blues rock of opening track "Come Together" really sets the tone. Five decades on, it still sounds great and maybe even better than you remember. Even if you own the original, this anniversary edition is worth having.

Review: Devoted fans of Abel Tesfaye were left in a spin when the latest The Weeknd album dropped out of the blue, offering up lead singles 'Sacrifice' and 'Gasoline'. The expansive reach of Tesfaye's musical world knows no bounds, straddling pop, rap, electro and much more besides on a quest for life-affirming, show-stopping songs that burrow straight into your heart. The cast of collaborators on this record is staggering, from Tyler, the Creator, Lil Wayne, Quincy Jones, and Oneohtrix Point Never to Jim Carrey and Swedish House Mafia, would you believe. Through it all, Tesfaye's dazzling persona shines through, making for another classic from one of the most unique artists in the premier league of contemporary RnB.

Review: Having previously impressed with their reissue of Patrick Cowley's brilliant, all-synthesizer soundtrack to obscure '70s gay porn flick School Daze, Dark Entries and Honey Sound System once again join forces to shine a light on the high energy disco pioneer's work for San Francisco's Fox Studios. Unsurprisingly, it's another impressive collection, and features material recorded for a number of different pornographic films. There are naturally more up-tempo moments - see "Somebody To Love Tonight", which would later be re-recorded with Sylvester, and the synth-weirdness-meets-jazz-funk brilliance of "5oz of Funk" - but it's the impressively cosmic and exotic ambient moments, such as the stand-out "Timelink" and "Jungle Magic", that really stand out.

Review: On the latest volume in the Late Night Tales series, Don Letts has dug deep into his crates to present a selection of some of his favourite dubbed-out reggae cover versions, alongside dub style remixes of more contemporary covers. It's a simple concept, brilliantly executed, with Letts offering up some exclusive, dubplate style remixes amongst the classic cuts and recent gems. Highlights include, but are in no way limited to, the full vocal dub of Capitol 1212's take on Joy Dvision's 'Love Will Tear Us Apart', Mad Professor's insanely weighty 2021 dub of John Holt classic 'You'll Never Find Another Love Like Mine', Blackbox Recorder's oddball reggae-soul version of 'Uptown Top Rankin' and Easy Stars All Stars' deliciously mystical interpretation of The Beatles' 'Within You Without You'.

Review: In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round on CD. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.

Review: Kendrick Lamarr has always been one of hip-hop's most thoughtful and thought-provoking MCs, with a passion for utilising beats and backing tracks that often sidestep hackneyed rap tropes and lazy samples. Even so, Mr Morale & The Big Steppers, Lamarr's first solo album for five years, is an arresting listen from start to finish. Impeccably produced, with countless musical twists and turns, spellbinding instrumentation (including jazz pianos, orchestration, intriguing electronics, sparkling synths and punchy rhythms aplenty), it sees Lamarr lyrically signposting his own failings (something not enough rappers of his profile are comfortable doing) within a wider framework of accountability. It's brave but brilliant, with some of the topics covered including his relationship with money, white women and his father, gender and generational trauma. A genuinely landmark album all told.

Review: In 2015, Texas & London-based trio Khruangbin's debut album 'The Universe Smiles Upon You' garnered wide critical acclaim and captured attention for its seamless genre-blending and internationally shaped sound - one that evidently has deep roots in Thai-funk cassette culture. Similarly to their debut, sophomore record 'Con Todo El Mundo' is a cocktail of largely instrumental surf-rock, afro-funk, middle-eastern and far-eastern influences, mixed with warmth and soul. As if their pallette wasn't diverse enough, the additions of the pared back boogie on 'Evan Finds The Third Room', the widescreen dream-pop of 'A Hymn' and deeply intricate writing of closer 'Friday Morning', are illustrative of a band who have worked hard to broaden their horizons while keeping their roots in mind and, despite transatlantic bases, clearly remain a stunningly cohesive and well-matched outfit.

Review: Jazz-wise deep house and downtempo producer Hanna has a string of fine albums to his name stretching back to the tail end of the '90s. Bless, though, is his first full-length since 2008, and sees the Cleveland, Ohio man transfer to Theo Parrish's legendary Sound Signature imprint. Each of the album's ten tracks comes dripping in hazy, late night soul, as Hanna smoothly shuffles between hazy nu-jazz explorations and various strains of sensual deep house. For the DJs there are plenty of floor-friendly moments, while the inclusion of a string of groovier downtempo workouts should please the home listening posse.

Review: Back in 2016, Martin Jenkins unveiled the first instalment of a "loose trilogy" of vaguely conceptual albums for the Ghost Box label. Entangled Routes is the third and final part of this trilogy and lands two years after its predecessor, Hollow Earth. Though not expressly acknowledged within the music, Jenkins' inspiration this time round was apparently "mycorrhizal networks" - subterranean networks of funghi that transfer water, carbon and other minerals and nutrients to the roots of plants. Musically, what's on offer is intoxicating and far-sighted, with Jenkins mixing up trippy ambient psychedelia with modular-rich, melodious electronica, throbbing, arpeggio-driven dancefloor cuts and what would once have been called IDM. As usual, the album is full of great ideas, beautifully executed, and sequenced in such a way as to provide a genuine aural journey.

Review: Lana Del Rey is back with a title that promises to intrigue, 'Did You Know That There's A Tunnel Under Ocean Blvd?"' If her previous works are any indication, we can expect a hauntingly nostalgic exploration of life in California, where the artist grew up. With her velvety voice and dejectedly poetic lyrics, Del Rey has made a name for herself as a modern-day bard of the West Coast. This release is sure to add another chapter to her musical saga, charting three new songs and one remix, and collaborations across the pop spectrum including Father John Misty, Tommy Genesis and Jon Batiste.

Review: Beyonce joins Drake in the house-via-Baltimore club 'renaissance', which has seen to a good deal of major hip-hop & R&B artists working in the styles over the course of entire albums and mixtapes. This being the queen of pop's first album in over six years, some naysayers say songs like 'Break My Soul' (filled with 90s organ and downtempo kicks and snares a-la Robin S) and 'Energy' (packed with batida stylings) are paint-by-numbers, but we beg to differ; for Beyonce, it's a polyglot of reinventory music.

Review: Tyler, the Creator's fifth studio album was produced entirely by the Californian artist himself, but it does feature guests like Solange, Playboi Carti, Kanye West and Lil Uzi Vert. It immediately debuted at number one and it's easy to see why. Rich with a complex fusion of funk, rap and r&b that glides on Cali-synths and neo soul melodies, the whole thing is tethered to the ground with a hefty low end and follows the narrative of a love triangle as told by American comedian Jerrod Carmichael. Arguably his best work to date, the production is next level and storytelling wholly involving.

Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.

Review: Out of the Blue is arguably a more personal collection than many of Phil Mison's previous compilations. It was inspired by his first few trips to the White Isle of Ibiza, and specifically the unlikely set of circumstances that led to him filling in for the legendary Jose Padilla at the Cafe Del Mar. Musically, the track list is reflective of the story, joining the dots between impossible-to-find rarities (see the loved-up jazz-rock of "Jelly" by the Cactus Rose Project and the life-affirming fusion business of Christoph Spendel Group's "Forever"), huggable Balearic synth-pop, flamenco-inspired sunset gems and a smattering of head-in-the-clouds Italian dream house gems. Given Mison's heritage and status within the Balearic scene, it's little surprise to find that Out of the Blue is utterly brilliant.

Review: The final part of Dark Entries' long-running series of archival Patrick Cowley releases showcases tracks originally recorded for Afternooners, a late '70s gay porn film by director John Coletti. As with previous Cowley releases on Dark Entries, the double album also contains previously unheard material rediscovered from the Fox Studio archives. It's another essential collection of atmospheric synthesizer music in the producer's distinctive style, all told, with tracks ranging from the whistling cheeriness of "Hot Beach" and the sparkling, cowbell-laden throb of "One Hot Afternoon" to the dubbed-out, semi-ambient dreaminess of "Bore & Stroke" and the humid, upbeat "Jungle Orchid".

Review: Since opting to release more music under his given name, DeepChord man Rod Modell has largely stuck to dubbed-out ambience and heady drone soundscapes. His latest full-length is a little different, though, offering up club-focused cuts that mix his usual fuzzy aural textures and dub-fired motifs with up-tempo techno rhythms. By his standards, it's a very forthright set, with highlights including the noise-soaked stomp of "Reiki", the thrusting heaviness of "ITO", the hypnotic slam of "Jade" - where breezy, early morning electronics flutter away above tough drums and a mind-altering bassline - and the boisterous peak-time techno anthem "Scrawler".

Review: Ace Records continue their series of compilations from Saint Etienne's Bob Stanley and Pete Wiggs, tapping into unique niches of British music culture under titles like English Weather and The Tears Of Technology to arrive at this latest joint, Fell From The Sun. This is a specific trip into the downtempo, after hours sounds prevalent in 1990-1991, as the acid house wave broke and Balearic selector ethics seeped into studio practice. The selections are absolutely on point, from The Orb's majestic remix of Primal Scream's 'Higher Than The Sun' to Saint Etienne's own moody roller, 'Speedwell'. It's bouncy and boundlessly optimistic as well as being supremely chill, absolutely of its time but still ringing with an eternal charm that feels ready for a revival. Let this compilation be your guide.

Review: The hype machine may have kicked into overdrive at the announcement of a new Aphex Twin EP, but after all there's a reason we all get so excited. Richard D. James is just a rare sort of artist - one who can wrench untold depth, detail and feeling from the oddest of angles and still keep it rave-ready in the process. It's been a while since we had some new material from the Cornish wonder, but now he's gifting us four fresh slabs of braindance par excellence which bristle with his distinctive touch. Those subtle microtonal shifts in the melodies, the particular flair with which the drums are dissected, the overall head-spinning tapestry of the whole thing - no one does it quite like Aphex, and this CD single gives you his considerable skills in the highest definition.

Review: Dominick Martin AKA Calibre has made many fine albums in his time, but even by his standards Feeling Normal - his 17th solo set - is something special. While naturally rooted in the soulful, emotive style of drum & bass that he's become renowned for, the album's 13 tracks also incorporate rhythmic and musical elements drawn from two-step garage, the sub-heavy end of UK techno, ultra-deep house, dub techno and dubstep. As a result, the vast majority of the cuts on show neatly sidestep convention, delivering hybrids that gleefully celebrate the impact of soundsystem culture on the UK bass continuum while also offering something new, fresh, melodious, hugely listenable and exceptionally entertaining.

Review: My Bloody Valentine frontman Kevin Shields has talked a lot about the stress of making Loveless, the band's now iconic 1991 sophomore album. It took over two years (and trips to 20 recording studios) to make, such was Shields sharply focused desire to capture a very specific sound. As this reissue proves, his attention to detail genuinely resulted in what many critics cite as their best album - a wonderfully immersive, wide-eyed and enveloping set that fuses their fuzzy alt-rock guitars with gaseous musical textures, dreamy aural colours and painstakingly layered musical soundscapes that sound as gloriously intense and druggy as they did way back in 1991. It's an album that everyone should own - or at least all those who doubt the sonic potential of primarily guitar-based music.

Review: Since its' initial release back in 2000, Theo Parrish's Methods Of Movement mix has attained cult status. 16 years on, the set has lost none of its' potency, or for that matter its' ability to entertain. An exercise in classic dancefloor eclecticism, it offers a sprint through dusty disco, soul, funk, Afrobeat, boogie, Detroit techno and deep house. It's effectively the kind of set you'd expect Parrish to play at a house party, laying down favourites from Tullio De Piscopo (the Balearic classic "Stop Bajon (Primavera)", Luther Vandross, Tony Allen, Incognito, First Choice and pal Kenny Dixon Jr. Packed full of energy, and shot through with soul, Methods Of Movement is Theo Parrish at his mercurial best.

Review: Sam Shepherd AKA Floating Points has long been known as a producer, DJ and selector with a staggeringly good record collection. It's for this reason that his edition of "Late Night Tales", a series dedicated to the joys of post-club home listening, has been so eagerly anticipated. The resultant mix is a triumph, with Shepherd showcasing a largely rare and obscure mix of new age ambient, high-grade jazz, sumptuous folk-soul (see Abu Talib's impeccable "Blood Of An American"), psychedelic soul weirdness, intergalactic jazz-funk, Satie-style piano movements and the drowsy, liquid electronics of Kaitlyn Aurelia Smith. The set also includes a handful of exclusive tracks, including a wonderful new Floating Points cover of Kenny Wheeler's "The Sweet Time Suite (Part I - Opening)". In a word: essential.

Review: The Future Sound of London keep their fans busy with a steady dispatch of music via the fsoldigital.com label, but it feels like there's a sense of occasion around this new album. Rituals E7.001 is purportedly the first part in a trilogy, and it already highly prized by the devoted followers of Brian Dougans and Garry Cobain's music. It's not hard to hear why on listening to the gorgeous strains of 'Hopiate', which harks back to some of the duo's most iconic music (we'll let you guess which one we mean). FSOL have always had a particular touch in their exploration of electronica, ambient and outernational sounds, and it sounds rich with inspiration on this new, expansive album.

Review: Now you've stopped shouting "there's a new Nick Cave album" at everyone who walks past, comes near or might possibly be in earshot it's about time we dived into the contents of the legendary troubadour's 17th studio album. Be warned, though, what lies beneath is deep and immersive enough to drown in, and even the most effective divers wouldn't find a body. A suitably morose introduction, we think. Digressions aside, "Ghosteen" is a majestic, powerful, operatic experience that will change nobody's opinion of Cave and his band, The Bad Seeds. The works are just as innovative, poignant, graceful, melancholic, euphoric and inescapable as ever. Too many adjectives? We're making no apologies. Consider the title number, if that's not too obvious a focal point. Sparse yet grandiose, narrative driven but metaphorical, organic and earthy yet making incredible use of a theremin. Almost impossibly good, sit back and let it wash over your mind.

Review: Simon Greene aka. Bonobo is set to put forth yet another album from his own personal ether; 'Fragments' was born from actual sonic 'fragments' that were later repurposed into twelve full 'sonic affirmations'. A later escape into the wilds of California's deserts formed the bulk of this album's downtempo magnum opi; watch out for collabs with a foray of world-downtempo electronica acts including Jamila Woods, O'Flynn and Miguel Atwood-Ferguson. One of his most heartfelt albums, expect all from lilting future garage ('Rosewood') to rave-nostalgic slow builds.