Hidden Sequence returns, this time to kick off a new label Magistrate, and hot on the heels of their quick-to-sell out 'Silent Roots' last year. This fresh EP seamlessly bridges classic 70s Jamaican dub with modern, bass-heavy and dubwise delights, starting with 'Isms & Schisms'. The horns are brilliantly inviting as are the low ends which have been well worked on a vast desk and come packed with echo and effects. 'Magistrates Dub' is an immediately infectious skank that shifts into a deep, dub-heavy exploration and unites past and present dub influences.

One of the most legendary female producers in history of electronic music brings out her sixth solo album - not to mention her numerous seminal recordings as part of Throbbing Gristle and Chis & Cosey - and the first in three years. 2t2 is an intimate yet electrifying statement, a dualistic journey through rhythmic propulsion and meditative introspection across nine tracks entirely composed, performed and produced solely by Cosey herself. With 2t2, she expolores personal loss and global upheavalm transforming them into a defiant sonic odyssey, weaving raw energy and introspective depth together. The beat-driven tracks pulse with kinetic urgency, echoing her industrial and electronic roots, while the ambient passages invite deep contemplation. Lead single 'Stound' exemplifies this balanceiCosey's overtone chanting evokes resilience and catharsis, grounding the record in both personal and universal strength. 'Threnody' pays tribute to Delia Derbyshire and Andy Christian, weaving echoes of past creative dialogues into Cosey's present explorations. Even in its darker moments, there's a lightness, a refusal to succumb to despair, in evidende and Cosey seemingly embraces sorrow as a path to joy, a reminder that resistance and resilience are acts of creation. With 2t2, Cosey Fanni Tutti once again defies convention, crafting an album that is personal and powerful.

Xzibit first put his talents on full display - no glass case needed - right as the moment that the 90s LA rap underground scene spread its wings. He broke out shortly after this underground comeup in 1996 with At The Speed Of Life, led by the moody slow-burn single 'Paparazzi'. His new record Kingmaker, however, brings, after a decade of remission from the limelight, a full 20 track's worth of deal-ready proofs of liquidity, guile and acumen, with Xzibit casting himself as a "kingmaker". (It) "has nothing to do with him being royalty or sitting on the throne and being a part of some kind of hierarchy", but a sign that he wanted to share his knowledge of "the good, the bad, the ugly, the ups and downs" he's faced throughout his life and career that he attributes to "making him successful". 'Play This At My Funeral' leads the offensive with hollowed out gumption and politically neutral, reminiscent bars, setting the tone with the following sentiment: don't mess with me, I've seen too much.

A case of 'Paranoid' by name - and paranoid by nature. At least by the time the Brummie founding fathers of metal had reached 1975 and their sixth album Sabotage, the foursome felt attacked from all sides, blighted by wrangles with both management and record company alike. Those troubles have been 'blamed' for the particularly searing, angry musical form that the band hit at the time, something that's subsequently endeared the period to fans of all things heavy ever since. This radio broadcast would certainly seem to back that theory up, from a devastating opening salvo of 'Supertzar' from that sixth LP to trademark anthems like 'War Pigs', 'Paranoid' and a lurchingly fantastic 'Iron Man'. The stress and ahem, other lifesyle factors, would lead to this classic line up finally splitting in 1979 - leading to Ronnie James Dio's replacement of Ozzy - but this rich mid-70s purple patch captures them between mania and ultimate collapse.

The band's companion piece to their debut album, with MDMA-slanted remixes (they were among the first E-dopters) and one new track, was always a strange, thrilling detour that delved deeper into the band's darker side. Reissued now and pressed on pink and blue vinyl, it leans into the playful and hedonistic spirit that fueled the duo's early years. 'Memorabilia' still slams with that proto-industrial funk, drenched in echo and attitude. Their version of 'What?' is gloriously off-kilter, part cabaret, part warehouse rave. Marc Almond's vocals are as dramatic and sly as ever, while Dave Ball keeps the synth lines rubbery and raw. There's a sense of controlled chaos here, where the line between irony and sincerity blurs beautifully. 'Sex Dwarf' is one of the band's most intense moments. A club hit that works today just as good as back in 1982. Even in its more minimal moments, there's a sweaty urgency to these tracks. The whole thing feels like a snapshot of a night that got way out of hand, in the best way possible. While the original album was darker and more introspective, this one lets loose, offering up a lean set of tracks built for movement and attitude. A record that was never afraid to get weird, which suits us down to the ground.

Moscow's premier instrumental outfit the Diasonics return with a limited clear vinyl 7" drawn from their forthcoming second LP Ornithology. The A's 'Oriole' locks into a crisp disco-funk rhythm, combining icy Soviet-era synth motifs with the kind of motorik groove that could've come straight off a 70s Eastern European library session, its minimalist melody mimicking the oriole's call while nodding to the Moscow commuter train of the same name. Flip it for 'Chickadee', all break-heavy thump, plucky bass and streetwise swagger straight from early 80s NYC.

Urban Underground Grooves welcomes back No Hype DJ's with a fresh 12" slab loaded up with funk-filtered cuts that throw it back to the golden era of 90s MPC-sampled house. The A-side packs a club-ready punch and starts with the uplifting banger 'FnK' It', which is kinda reminiscent of Gene Farris' classic Wheel recordings. 'Tribaldoria' follows as a tribal groove guaranteed to get the sweat forming and on the B-side, the mood shifts to a more emotional and relaxed vibe, starting with the romantic 'Rainy Dayz'' before flowing into a crunchy French filter jam and closing with the empowering 'Be Yourself.' An effective but heartfelt journey.

Caricia Records launches with a debut release from longtime collaborators and techno-faves VIL and CRAVO, who have been refining their signature sound through years working with the Portuguese Hayes collective. After killer outings on labels like Monnom Black and Klockworks, they deliver a precise yet characterful EP here. Opening track 'So Right' locks you in with rolling percussion and hypnotic vocals, setting a controlled mood. Then '420% FODA' grooves with classic swing and textured loops made for full-body movement. On the B-side, CRAVO's 'Future Detroit' brings a spacious, subtle vibe, while VIL's 'Hard to Find' closes with more unrestrained and mischievous energy. A focused, no-nonsense statement.