Back catalogue:

Review: "Free from genre constraints" is a phrase we hear all-too-often, without actually hearing what that should mean in practice. Then along comes Kuboraum Sound Residency and shows the rest how it should be done. Name-checking the eponymous collective-community of artists, creatives, and big musical thinkers, a network of individuals responsible for innumerable events, collaborations, and artist residencies, a quick look through who's involved on this 12 track gem tells you everything. Next generation titans like Manchester-Berlin duo Space Afrika - often credited with creating their own ambient-dub-grime-industrial aesthetic - next to u-Ziq, alter ego of Mike Paradinas, the name behind legendary and stylistically wild UK imprint Planet Mu. Riotous Ugandan-Kenyan MC Yallah. Techno and noise pioneer Regis. Mannequin Records boss Alessandro Adriani. Every track is incredible. We cannot recommend enough.

Review: Hatti Vatti's new album, Zeit, brings a diverse blend of organic electronic music. Drawing on a wide range of influences, it channels the essence of festival bands like the Ullulators and evokes the mellow, cosmic vibes of Hawkwind during Harvey Bainbridge's era. This Polish experimentalist, aka Piotr Kalinski, combines electronics, guitar and production to create an album for those who enjoy their dreams in tangerine hues. Zeit marks Hatti Vatti's first LP since 2017's Szum. For this album, Kalinski collaborated with notable Polish jazz musicians, inviting them to improvise with his compositions. Rafal Dutkiewicz (drums), Pawel Stachowiak (bass), and Piotr Checki (saxophone) contribute their talents, having worked with renowned acts like EABS, Skalpel, and Slawek Jaskulke. The resulting album is an eclectic mix that transcends genre boundaries, echoing Japanese ambient, krautrock, jazz, and dubby UK bass. Zeit stands out as a distinctive, dubby electronic space rock album, adding a unique flavour to the label's impressive catalogue.

Review: Norwegian-Mexican artist and producer Carmen Villain was born in the US, so has a pretty global sound and wide sphere of influence. Only Love From Now in Small-town Supersound is her fourth studio album and is another beguiling and tightly woven tapestry of atmospheric sounds, field recordings, woodwinds, percussion, samples and synths. Elements of forth world, dub and ambient characterise the grooves and make for a deeply immersive world of steady rhythms, hypnotic melodies and mysterious sonic artefacts. At times loopy, at others loose and improvised, it is an essential listen once more.

Review: For their new album Lust 1, Voice Actor's Noa Kurzweil joins Welsh producer Squu for a woozy, intimate exploration of ambient sensuality. Following the sprawling Sent From My Telephone, this 45-minute work feels more focused but just as dreamlike with Kurzweil's hushed, often unintelligible vocals hovering over Squu's glowing pads and dubby pulses. With additional glitchy textures, soft hits and melancholic drones, the work forms a world that teeters between erotic hypnosis and emotional exhaustion. Highlights like 'You' and 'Nekk' blend vague ambience with jolting detail while pushing the sung-spoke-whispered words to the brink of abstraction. This is an album rich in fleeting emotions, tactile textures and forgotten memories.

Review: Recorded last year at Rome's contemporary art museum, MAXXI is as graceful and noble as the environment in which it was created. "Intro" sets the tone for this work with its understated pulses and chilling synths. This leads into the deeper, more textured depths of "Sonia Danza" and the aptly named "Dreamscape Generation", which features warbling streams and rivulets of sound, squelches and chatter, like a moist riverbank on a spring morning. "Orange Steps" and "Scintille" are serene and more reflective, after this veritable flurry of musical activity. The release finishes with "Max", a cover of a piece by Italian composer Paolo Conte, but its chimes and layered textures are unmistakably Neel and Dozzy's.

Review: The latest project from Basic Channel pioneer Moritz Von Oswald examines the sonic relationships between human voice and synthetic tones. The initial outline of the album was shaped out in Von Oswald's studio on an assortment of synths, before Finnish composer Jarkko Riihimaki wrote the compositions out as sheet music to be interpreted by Berlin-based choral group Vocalconsort. Recorded in a nearby church, these austere compositions strike a neo-classical note, but they also naturally align with Von Oswald's accomplished legacy in the realm of minimal music while pushing the renowned artist and his listeners in challenging new directions.