Back catalogue:

Review: Vincent Lemieux and Guillaume Coutu Dumont are the producers who combine as Flabbergast and now they unveil their full-length debut, Consolation in Constellation. As you would expect from those two artists, it is a boundary-pushing journey through sound that is rooted in improvisation, classical training and deep electronic exploration. The album fuses jazz, acid house, breakbeatand cosmic textures into a seamless exploration that adds up to a sonic constellation-carefully composed, yet full of spontaneity. 'Binary Star' is like IDM, minimal and electro all distilled into a siren new sound, 'Orion Belt' is rich in pixel thin pads and glinting chords and 'Phaser' is a slithering, high speed electro workout from another world and with a playful charm despite its highbrow design.

Review: This essential collection compiles the complete recordings of early '90s San Diego emotive hardcore pioneers Forced Down, and none of it has been on vinyl before. Formed by Amenity's Mike Down and Pitchfork's Joey Piro, with members from Heroin and vocalist Rob Base, Forced Down delivered impassioned, politically charged hardcore. Their powerful sound and message still resonates decades on.A This collection features mastering by Brad Boatright, who has done a fine job of keeping the grit and grime of the original records so that you really get taken back to that era when listening.

Review: Frank Popp Ensemble returns via its fourth studio album, recorded and produced in Spain throughout 2024. Known for their sleek combos of flared orchestration with retro soul motifs, Popp once again brings in a wide array of guest vocalists: Gerard Love, formerly of Teenage Fanclub, on the strings-laced rework of his own deep cut 'Save' from 2004; then Nicke Andersson (The Hellacopters, Entombed, Imperial State Electric) on 'Caught In A Web', a high-energy Northern soul workout reproduced in full Magic Touch style. An impeccably done cinematic indie soul rouser, wrestling the nubby essence of a sound to the ground.

Review: Let's face it, The Futureheads are at their very best when utilising choir-style vocal arrangements. This was arguably first made clear when they dared to drop that incredible cover of 'Hounds of Love' - treading where very, very few people have braved, into the world of enigmatic wonder-artist Kate Bush, and coming out with something that stood up on its own as a wonderfully unique cover. If you agree, this one's for you. Online blurbs will tell you Rant is a diversion from the usual Futureheads stuff. And yeah, maybe it is to some extent - this is an a cappella album after all. No guitars. No drums. No instruments other than the band's own voices. It also uses traditional folk as the main source material, with some pop and dance thrown in. Nevertheless, if you can't immediately identify this as the Sunderland group, and hook into the clear rhythmic signatures that would identify this as them, even without the voices, you've not been listening hard enough. A triumph of auteur theory in music.