Back catalogue:

Review: Marking Indica Dubs' 100th release in serious style, 'When Jah Come' by Danman takes the form of a powerful tribute to the late Jah Shaka, whose influence shaped generations of dub and roots sounds and musicians. This long-anticipated dubplate was famously championed by Shaka himself and comes laden with deep, earth-shattering basslines, spiritual vocals that touch your inner psyche and militant rhythms with unmistakable reverence. It is a celebration and a memorial that honours Shaka's legacy while showcasing Danman's ever-commanding voice and Indica Dubs' unrivalled production strength.

Review: Detroit native Ideeyah is a singer, songwriter and performer whose soulful vocals and lyrical storytelling touch the heart. Born LaKeisha Johnson, who you may remember from featuring on Theo Parrish's superb DJ-kicks mix. Here she steps up to his Sound Signature label with a new solo EP produced by Meftah. It begins with praise-giving spoken words and cosmic synths on 'Invocation (feat Maimunah Baqui)' then takes in deep and jazzy broken beats on 'Align', heavenly keys and vocal coos on 'Light' and slow motion grooves on '2020' where Ideeyah's effortless smooth and seductive tones melt the heart. 'Eat The Plants' and 'Sweet Chariot' are two more magnificent vocal pieces with gentle live drums and meaningful pads.

Review: The always excellent Minimal Wave presents a rare EP from Greek electronic pioneers In Trance 95 here. Alex Machairas and Nik Veliotis formed the duo in 1988 and very much helped define Greece's early electronic scene with their minimal synth and EBM-inspired sound, all of it usually marked by analogue warmth, hypnotic melodies and a futuristic sensibility. This release captures their innovative spirit and cult legacy across six unreleased tracks recorded between the late 80s and early 90s in Athens. It sounds magnificent and is a long-overdue glimpse into their visionary archive for new fans, or a fine reminder of their roots for those who have always been tuned in.

Review: Made famous for their mammoth mammary Brainiak-issued sophomore record Blow (1996), The Infinite Wheel came in 1996 as the North London based ambient trance collab of James Johnson and Mark Smith. Many a psychedelically tinged downtempo record would just as easily sporulate across the likes of Nu Groove and R&S, but it was this Brainiak exclusive from 1994 that really took the edible. 'Java Dub' is a psychic dub breakthrough, with its steamtrain bells and eighth note expansions making for a proper tonal tunnelling. 'Enviro', just as it was, has us puckers our lips to its ambient acidic sours, as cascades of percussive pulsion rain down like disembodied parts of a collective self.

Review: "Inokasira Rangers" translates from the Japanese to mean "Park Rangers". Living up to the name, this band's dub and rocksteady versions are like natural conservation efforts. Re-rendering their chosen songs in bobbing dub, Nirvana's grunge roll 'Smells Like Teen Spirit' is first revitalised, transformed into a sustainable form: "jello, hello, how low" becomes a relatively spooky perennation of Hammond, while Krist Novoselic's accompanying basslines become chop guitar, emblematic of the rocksteady movement. Meanwhile, Kool & The Gang's 'Summer Madness' is lent an eerier, dream-strung dub version, with an underwater wah effect providing an extra tchotchke on the windowsill of history.

Review: Rocksteady revivalists Inosikira Rangers have built a long and successful career out of unlikely cover versions, delivering killer reggae style interpretations of everything from 'Smells Like Teen Spirit', 'Anarchy In The UK' and 'Creep', to 'Born Slippy', 'Like a Virgin' and 'Happy'. Here, two of their most popular and potent covers are brought together for the first time on one "45". On side A they handle New Order's 'Blue Monday', re-casting it as a Hammond-heavy slab instrumental rocksteady, with Bernard Sumner's vocals being replaced by extended organ solos. Over on the flip, they slow down and skank out Kraftwerk's 'Autobahn', throwing in nods to krautrock and a dash of robotic vocoder to keep things fresh.

Review: Japan's best covers outfit, Inokasira Rangers, once again scores another knockout in dub. This time the instrumental group have procured a jaunty Louis "Satchmo" Armstrong ballad and a Glen Campbell re-blend respectively. Both songs have been lent a warm, clear-cut rocksteady flavour, substituting trademark vocal lines for instrumental renderings (both originals contain bittersweet legatos and leaping intervals, and deal in themes of gratitude and nostalgia, making it an extra challenge for the Hammond and electric piano to replicate them). But the task is nonetheless won, and pristine clarity achieved!

Review: On Higher Dreams is the debut LP from Italian producer and guitarist Isaac de Martin, aka IKE. It is couched in jazz and electronic fusion and draws inspiration from the time the artists spent in Egypt during the COVID pandemic back in 2020. It was there that themes of nature, contrast and cultural reverence for music informed the record's conceptual foundation. Tracks like 'Nilo' and 'Sidda' channel the life-giving force of the Nile and its surrounding traditions, and the whole thing was recorded live to analogue in Berlin so effortlessly merges vintage warmth with modern textures while offering a contemplative, cinematic experience shaped by cultural immersion and personal reflection. A strong debut, then.

Review: Ten years after their brilliant sophomore LP Smoke + Mirrors, rock-radio-ready roilers Imagine Dragons (once celebrated as, among many, the biggest band in the world) mark the occasion with a fresh vault of 14 previously unreleased demos from the sequent album's recording sessions. While the original showed off the band's dynamic range, securing them many a number-one spot, this collection offers a raw glimpse into the creative process of the LV power-pop rovers. Much less polished than official chartists might expect, we still note of the band's seemly evolution out of an already rather anachronistic early-10s EDM-plated sound, primed for radi-a and stadia alike. Many of these songs were written for the road, so it's interesting to hear, and/or imagine, what might've been if the band had followed these songs to their glossiest conclusions at the time.

Review: The cult Slow Life label has always operated at the more cosmic end of the house and minimal spectrum with speedy grooves designed to make an impact both physically and emotionally. Now a member of the collective, Indi Zone who is half of the Ethereal Logic project, steps out with a solo debut album that flips the script and explores organic grooves and blissful harmonies. It's an escapist delight with supple downbeat drums and gorgeous synth work that ranges from wispy to starry, watery to smeared. It paints a vivid picture of a heavenly tropical wonderland with endless neon glows and soft edges in which to get lost.

Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.

Review: INXS have gone all in and hired the best in the business to provide a brand new stereo mix of their 1985 Listen Like Thieves album, namely Giles Martin and Paul Hicks, who have been remixing and remastering the Beatles back catalogue together. Ill content to let a better sounding album be enough of a package, the Australian 80s icons add previously unreleased sessions tracks, outtakes, demos and a live recording the BBC did at the Royal Albert Hall in 1986. Of the tunes on here, 'This Time' has a U2-esque stadium-filling atmosphere that is undeniably empowering. But it's also great hearing another, more stripped back side to the new wave icons and 'Kiss The Dirt' is a great place to start with this - you can hear a work in progress and let your imagination can fill in the gaps.

Review: Leeds' Iration Steppas have spent over three decades reshaping dub into a raw, high-voltage force, blending classic roots selections with futuristic, bass-heavy energy. Here, Mark Iration delves into the Greensleeves archives, curating a deep selection of foundation cuts that have fuelled their sets since the early 90s. The first disc centres on heavyweight vocal performances - Michael Prophet's 'Righteous Are The Conqueror' and Johnny Osbourne's 'Mr Marshall' embody roots reggae at its most defiant, while Ranking Dread's 'Shut Me Mouth' and Wailing Souls' 'Busnah' channel the militant energy of early dancehall. The second disc turns up the pressure, diving into dub with Roots Radics' 'Conquering Dub', Augustus Pablo's 'Revolution Dub' and The Revolutionaires' 'Respect The Version'. Following the success of Down In Dub From The Vault, this latest Soundsystem series instalment reframes vintage selections through the seismic weight of Iration Steppas' vision.

Review: We find ourselves lost in kosmische textures, dark jazz motifs and brushup drums, as Ivan The Tolerable (Oli Heffernan) edges us ever deeper into his singular sonic world with An Orphan Form, where wide scapes and underbrushed moodiness leaves us in an identifiable yet not entirely placeable place. There's a sense of constant movementicircular rather than linearias the music unfurls like a dream slipping just out of reach. Synth lines wobble and stretch, field recordings emerge from the mist, and the sounds of nature act as subtle anchors amid the abstraction. It's a spiritual detour after the cheekier tonalities of his various earlier cassette albums for the likes of Cruel Nature and Ack! Ack! Ack!.

Review: The second album from Vijay Iyer and Wadada Leo Smith on ECM is a meditation on resilience, sorrow and the human condition. Across four expansive tracks on Defiant Life, Iyer's piano and Fender Rhodes intertwine with Smith's haunting trumpet to create a soundscape that's both urgent and serene. From the solemn depth of 'Sumud' to the shimmering melancholy of 'Floating River Requiem' and the radiant close of 'Procession: Defiant Life' notions of suffering, resistance and hope are explored. The record was recorded in Lugano and produced by Manfred Eicher. It's a deeply reflective work of emotional and spiritual resonance.