Back catalogue: All genres

Review: Bristol genre-blurrer A Sagittariun reemerges with 'The 23 Enigma', a three-track implied "conceptechno" EP, and his first new material since 2022's 'Strange Brew' on Rekids. Having already conquered Hypercolour, Running Back, Craigie Knowes and Secretsundaze, he's now spent close to fifteen years weaving strands of techno, ambient dub, breakbeat, and deeper electronics, lacing each with a heavy psychedelic dosage just shy of overdose. The latest hears 'Fountainhead' and 'Mind Games' offer a percussive jolt through rugged high-impact tools, set aside for dirtier floor works. The title track is the only one to trade the club's rough pulse for a subtler, high crown cognition, riding warped, muscular electronics till we reach an unbidden cavernous zone. A Sagittariun continues to operate outside the grid, where cosmic intent meets merciless studio power.

Review: ***B-STOCK: Sleeve slightly damaged, record slightly warped***


A² was the electro, breaks and tech house duo Andy Panayi and Alec Stone, and this outing on R.A.N.D. Muzik Recordings is a four-track collection that comes years after the tragic passing of Panayi so serves as a poignant tribute from his close friends and family. Honouring Andy's legacy, the release captures the duo's innovative electronic spirit and is both a celebration of their work and a touching farewell. Musically 'Street Renegade' is a lithe breakbeat sound, 'Upton Park Breaks' is more dark and textured and 'Electro Boogie' is just that while 'Reckless' closes on a more spaced out and cosmic tip.

Review: This new 12" from Glaswegian producer Harvey McKay sees him reworking Daniel Avery's 'Drone Logic' into a driving, big-room missile i and it absolutely slaps. Upping the tempo and leaning into a more percussive framework, McKay doesn't just touch up the original's swirling psychedelia, he rebuilds it for peak-time pressure. The acid line is still there, twisted and stretched, but now it rides atop galloping drums, shimmering hi-hats and the kind of pneumatic swing that's become McKay's signature. It's a brand new release on Phantasy, pressed in a limited run of 500 and already a fixture in the sets of Avery, McKay and Erol Alkan. The sound is somewhere between soulful techno and heads-down warehouse hypnosis i powerful without being punishing. What's clever is how it stays true to the hazy mood of the source, but flips it into something entirely more immediate. As a one-sided 12" it's a bold statement, but one that's easy to understand: it only needs one track when it hits this hard. Built for high ceilings, smoke machines and stretched-out moments mid-set, this is an edit that earns its hype. A slow-burn classic reborn as a proper dancefloor weapon.

Review: Pioneering Japanese psychedelic rock Acid Mothers Temple & the Melting Paraiso U.F.O. (AMT) were formed in 1995. Their relentless output has spawned various offshoots over the years, such as Acid Mothers Temple & the Cosmic Inferno and Acid Mothers Temple SWR, synthesising and alien cosmo-grammar in sound, one that perhaps only the most acid-casualtied tongues can interpret or speak. Now present through Rolling Heads comes their latest album for 2025: Holy Black Mountain Side comprises three psychedelic pieces, reticulating a series of recording sessions held down between 2021 and 2023, at one point reinterpreting a traditional folk song, and throughout enlisting guest bass from Taigen Kawabe of Bo Ningen. Each record comes wrapped in unique artwork by lead improvisor Kashiwagi Ten, adding an extra layer of veiled mystery to each: no two records are visually alike.

Review: Aesop Rock has long thrived on twisting the ordinary into the uncanny, and his latest full-length after 2023's irony-packed Integrated Tech Solutions hears him deepen that fascination. Examining the unseen mechanisms that guide daily life - dream logic, half-formed memories, fleeting emotions - he now blurs the lines between perception and reality with densely packed verses and meticulous self-produced beats. A brooding, cinephilic album recalling the atmospheric street wiles of filmmakers like Wong Kar Wai, the playful 'Send Help', contemplative 'Movie Night' and dusky 'Black Plums' chart strange emotional terrain, brought to life through warped sonic forensic architectures and sharp lyrical precision. Joined by Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, the album pivots constantly, driven by intuition but grounded in detail Speaking on the record's emphasis on public bareness, Rock remarks on 'Checkers', a song "about the neighborhood outside your home being the great leveller. You can't show up feeling one way because the world will show you otherwise."