Back catalogue:

Review: Depeche Mode's standout album Violator (1989) produced the landmark song 'Personal Jesus', and with its catchy bluesy riff and innovative but rare use of guitar by the otherwise great synthpop act, the song would upend and expand at the edges of an already well-varied sound. With lyrics inspired by 'Elvis And Me' by Priscilla Presley, exploring themes of devotion and stardom, while the record's controversial promotions saw the band take out personal ads, as well as advertise a phone number through which fans could hear the song. Now Matt Early (aka. Funky Wogan and Hardbag), DJ, producer and remixer extraordinaire of Far Horizon and Sub London fame, lays down an ingenious edit backed by the original number on the flip. Limited numbers on this furtive output, so keep your shopping cart fingers poised...

Review: Emma Noble, the emerging soul singer from London, delivers a powerful performance on the girl group soul anthem 'Unstoppable'. Her second single, it's poised to become a next-gen floor-filler; catch us playing it on repeat, *in flagranti*, after it premiered on Craig Charles' BBC6 Soul Show in early 2025. 'Going Going Gone' backs it up on the B-side, as the first single from FPE's upcoming album Waves. Hearing rising Australian singer-songwriter and pop genius J Mahon on vocal duties, the track's catchy brass sections combine with J's androgynous soul vocals, and evokes the sounds of young Motown artists in the style's 60s adolescence.

Review: Originally scored in 1968 by a loose circle of New York garage-psych acts, this reissued soundtrack finally lifts the veil on one of the strangest period films of the late 60s. The E-Types lead the charge with no fewer than four versions of 'Put The Clock Back On The Wall', ranging from a bright, full-band cut to a warped instrumental and stereo acapella. The Bit' A Sweet contribute the hazy, lurching 'Is It On, Is It Off?'ia woozy gem full of phased guitar and tape wobbleiwhile 'LSD Got A Hold On Me' by Thee Neons dials up the paranoia with raw, fuzzed-out intensity. The Vagrants offer a tight, harmony-laced soul ballad in 'I Love, Love You (Yes I Do)', adding contrast to the acid-drenched proceedings. While the film itself, shot entirely in greyscale, veered closer to surreal documentary than narrative cinema, the music functions as a mood-setting anchor throughoutiequal parts camp, dread, and weird sunshine optimism. This marks the first official pressing of these tracks and serves as both a time capsule of New York's outsider rock fringe and a highly playable psyche compilation in its own right.

Review: Earth's live performance at KOKO in 2016 captures the Olympia-formed experimental drone crew's evolving sound in its most immersive form. The trioiDylan Carlson, Jodie Cox and Adrienne Davisioffers a slow-burn journey through layers of doom, drone and minimalist textures that feel as weighty as they do precise. The set begins with a familiar depth, the reverberating basslines and crushing guitar tones building a space of deliberate tension. Tracks like 'Bees Made Honey In The Lion's Skull' unfurl with a vast and spatial quality, while 'Even Hell Has Its Heroes' crawls along in thick, oppressive layers. What's striking is the restraint: Earth never rushes; each note, each pause, is deliberate, serving as a meditation on the slow, heavy force of sound. The minimalist approach feels almost tactile in its quiet moments, as if the silence itself is as profound as the noise. This live offering underlines their mastery of creating music that moves beyond noise, into a deeper exploration of space, sound, and feeling.

Review: Drissi El-Abbass's Rai Sidi Bel Abbes - Volume 2 is a superb eight-track compilation that tells the evolutionary story of Rai music from the late 1970s to the 1990s. Released by Nashazphone on four sides of wax, it highlights El-Abbassi's soft vocals and innovative fusion of traditional Algerian music with electronic elements which came after he started his career with Les Aigles Noirs and later collaborated with guitarist Ahmed Zergui. El-Abbassi embraced synthesisers and drum machines to shape a modern Rai sound that has stood the test of time and tracks like 'Maak Probleme' and 'Datli Laakal' blend nostalgic melodies with bold production to offer a vivid portrait of Rai's creative transformation.

Review: Drawing on influences from the global Cumbia scene that took root in Buenos Aires over a decade ago, El Buho presents a collection of tracks that blend entrancing traditional rhythms with modern electronic textures. The opener, 'La Cumbia Del Cafe Martinez,' sets a hypnotic tone, while 'Anglo-Colombian Expedition' merges lively tropical elements with intricate production. The darker 'La Cumbia De La Ansiedad' and earthy 'Porro Del Tucan' follow, offering variety while remaining grounded in Cumbia's roots. The remixes elevate the experience further. ARN4L2's atmospheric interpretation of 'La Cumbia Del Cafe Martinez' opens up the track into a spacious, reflective journey, while Auntie Flo's remix of 'Anglo-Colombian Expedition' adds a rhythmic intensity. La Jungla's energetic remix of 'La Cumbia De La Ansiedad' and Lagartijeando's hypnotic take on 'Porro Del Tucan' offer new perspectives on the original compositions too, making this a digital Cumbia milestone.

Review: German progressive rockers Everon have returned after 16 years, led as ever by guitarist and vocalist Oliver Philipps. Known for their intricate melodies and deft fusion of classic prog rock with a modern sensibility, the band's latest offering showcases their signature sound that made them stand out in the late 90s and early 2000s. Despite the years apart, the group's musical chemistry remains intact, with their technical prowess and Philipps' emotive voice providing a solid foundation. However, this reunion comes with a heavy heart as recording process was marred by the sudden death of drummer and co-founder Christian Moos. The poignant 'Until We Meet Again' serves as a tribute with lyrics reflecting the sorrow of losing a close bandmate. Tracks like 'Travels' and 'Broken Angels' continue to embody Everon's knack for melodic rock with progressive flourishes, while 'Pinocchio's Nose' and 'Guilty As Charged' show their ability to mix heavier, more complex arrangements with accessibility. The band's blend of the epic and personal, coupled with their finely tuned musicianship, makes this a compelling return after such a long hiatus.

Review: The Excursion's 1968 album Night Train, led by organist Jerry Allen, fuses jazz, mod and beat influences into a distinctive sound that has stood the test of time. Featuring a cover of the evergreen gem 'Green Onions,' the record epitomises the musical energy of its era and though relatively obscure at the time, it has since gained cult status among collectors. Original vinyl pressings are now rare and highly prized as its unique blend of styles and period charm make Night Train a standout release in British jazz history, which was ever shifting in the 1960s.