Back catalogue: All genres

Review: Wow, 20 years has gone by since Eminem changed the game with his "Slim Shady" LP. To mark the occasion, this anniversary edition is freshly expanded with 10 bonus tracks that include rarities, a cappella versions, freestyles and instrumentals. It was the iconic rapper's major debut that didn't dampen down his raw spirit and attitude. Anthems like "My Name Is" still bang, "97' Bonnie & Clyde" finds him at his vengeful and most bile-filled best and just about everything else confirms his reputation as one of the most pointed and dangerous lyricists in the game.

Review: Eminem's new album, Guilty Conscience 2, marks a bold return to his Slim Shady persona with a fresh angle that deepens his thematic exploration. With album sales over 220 million records worldwide, including albums, singles, and other formats, it is hard to argue that Eminem isn't the voice of this generation in Hip-Hop. As he turns 50, Eminem revisits and critiques his notorious alter ego, presenting Slim Shady as a relic of toxic masculinity and outdated rage. The album's first half channels Shady's provocative style, while the latter part reflects a more mature and contemplative Eminem. The production strikes a balance between modern sensibilities and nostalgic nods to earlier works, offering some of the best beats and hooks Eminem's had in years. Guest features, including JID and Big Sean, complement his intense delivery, enhancing the album's impact. While the content remains provocative, it effectively engages with its themes, providing a nuanced critique of both Eminem's past and the current cultural landscape. Fans of his earlier work will find much to appreciate here, though it may not break new ground. Overall, Guilty Conscience 2 is a compelling chapter in Eminem's storied career.

Review: Eminem's latest album marks a bold and thoughtful effort to revisit and redefine his Slim Shady persona. Emphasising a concept album format, Eminem wants fans to experience the project in sequence, aiming to dissect and reflect on Slim Shady's controversial legacy. The album's first half brings back Slim Shady's provocative edge, addressing contemporary issues like cancel culture and Gen Z with a raw, unapologetic energy. Drawing from the darker corners of his past work, such as Encore and Relapse, the production provides a gritty backdrop that enhances the thematic exploration. Eminem's self-reflection is both daring and introspective, with tracks like 'Guilty Conscience 2' presenting a powerful narrative of putting Slim Shady to rest. In the latter half, the album transitions to a more reflective Eminem, offering familiar yet heartfelt insights into his personal journey and struggles. The album's production and moments of clarity showcase Eminem's continued evolution as an artist. This ambitious project stands out in a year of exceptional rap music, highlighting Eminem's enduring relevance and creativity.

Review: First released in 2004, Eminem's Encore was emblematic of the ultimate white-boy rapper's tasteful blend of social commentary, humour and dejection, and for many it is the childhood-marking moment that brought songs like 'Just Lose It' and 'Mockingbird' to hungry adolescent ears. On new, blue gatefold 2xLP comes a new edition from Shady's own label Aftermath, marking a second encore and ovation for a pivotal point in Eminem's career, which took place over 20 years ago now. His alter ego, Slim Shady, had sparked furious debates at the time about freedom of speech and artistic expression, and the record came after the death of his close friend and fellow artist Proof in 2006. Especially unafraid of his anger, Eminem served as a role model for young and impressionable youth in the early noughts, urging verbal articulation over blind rage.

Review: The debut collaboration between Harlem-raised, Ugandan-born hip-hop artist Emma Lee M.C. and acclaimed German producer Roccwell is a creative powerhouse that blends bold lyricism with classic boom-bap production. Over seven tracks, their synergy transforms pandemic restrictions into opportunities for fresh energy and storytelling. The standout single 'Like It's 93' featuring Masta Ace cleverly weaves over 40 classic rap album titles from 1993 into a lyrical portrayal of hip-hop, while Masta Ace responds with a nostalgic rebuttal. With tracks like 'Cravings & Withdrawals' featuring Bahamadia also sounding fresh, the duo delivers smooth, soulful vibes that reawaken the raw essence of hip-hop's golden era.

Review: Red Night Recordings introduces their debut original track release by Chicago's Emmaculate, known for his detailed production skills and groove-laden beats. Emerging in 2017 with his breakout single 'Do It' feat. Kaye Fox, Emmaculate has quickly become a key player in the house scene. His new release 'Cosmic Funk' delivers a spacey, funky journey to the dancefloor, blending ethereal synths, cosmic organ lines and a powerful bassline. A proper groove from start to finish, this one's made for late-night sets and endless moves.

Review: Benjamin Epps sharpens his craft with L'enfant sacre de Bellevue, the successor to La grande desillusion, amounting to the second of two records to excavate the French rapper's history and personal growth through self-reflective, fine-tipped lyricism. This is a record driven by ambition and vulnerability, tracing the contours of personal struggle, pride, and purpose; Epps balances tight productions with a fierce bravado, one not considered counter to introspection or emotive soul-bearing. Epps operates with clarity and control, further solidifying his status as one of the most technically gifted voices in French hip-hop today.

Review: This special The 35th-anniversary reissue of Come Away with ESG celebrates the groundbreaking debut album by the Bronx sisters. It's a proper genre-defying classic that shaped hip-hop, house, and post-punk with its signature minimalist funk. ESG's stripped-down sound is built on raw drumbeats and hypnotic bass lines and defies traditional labels with a more groove-driven, horn and organ-free alternative to funk. Their influence spans decades and has inspires artists across several genres which is why Come Away remains a classic and one that proves that true rhythm lies in the spaces between the beats.

Review: To celebrate the 35th anniversary of this iconic album, it has been reissued on vinyl in various colours including this organ neon sizzler. Come Away with ESG was the groundbreaking debut from the Bronx-based sister group and is recognised as a genre-defying classic that played a pivotal role in shaping hip-hop, house and post-punk. ESG's minimalist funk, stripped of horns and heavy organ, offered a fresh take on the genre. Decades later, their impact is undeniable, influencing artists across multiple styles. This album is a testament to the power of rhythm-not just in the beats, but in the spaces between them.

Review: To mark the 35th birthday of this album it has been reissued on vinyl in different colours, so take your pick. As any funk lovers will know, Come Away with ESG is the Bronx sisters' pioneering debut album and a genre-blurring masterpiece that is accepted to have very much helped shape hip-hop, house, and post-punk with its signature minimalist funk. ESG's raw, stripped-down approach offered a fresh alternative to traditional funk in that it was free of horns and heavy organ. Decades later, their influence remains undeniable and has inspired countless artists across multiple genres. This record is all the proof you need that the magic of rhythm isn't just in the beats-it thrives in the spaces between them.

Review: Boston beatsmith Esoteric has plenty of mileage from his work in Czarface and alongside 7L, but it's been fair stretch since we last had a beat tape from him. That all changes with Burrito Beats Vol. 1, a classic blast of cut n' paste antics slapping down neck-snapping grooves and a tapestry of samples across the full spectrum of our attention-deficit, media-addled reality. Mixing serious chops with a sharp sense of humour, this is a celebration of the hip-hop mixtape in all its glory, showing a producer cutting loose and stirring together whatever sonic ingredients take his fancy.

Review: Resonance is the superb new album from Essa and Pitch 92. Essa is something of a veteran who back in the early part of this millennium was putting out tunes under the name Yungun. He is a Londoner and lawyer who played a key part in the UK's golden hip-hop era and picked up props for his work from dons like Nas while also working with De La Soul, Wu-Tang Clan, Guru, Slum Village and Pharoahe Monch. This record taps into that time with its soul-drenched, low-slung and late-night beats, specially and politically aware lyrics and gorgeous samples. A contemporary classic steeped in authenticity.

Review: The resurgence of solo British female artists like Lily Allen, Lady Sovereign, and Amy Winehouse highlights a distinct, acerbic edge that resonates with US audiences, especially when delivered with an accent. While American counterparts like Beyonce and Ciara can be assertive, they remain likable, whereas their British peers often embrace a more confrontational stance. Estelle's US debut, Shine, reflects this trend with its blend of sass and charm. The album kicks off with the cheeky 'Wait a Minute (Just a Touch)' and continues with the sharp-tongued 'No Substitute Love,' featuring a clever nod to George Michael's 'Faith.' Unlike her Brit contemporaries who might veer into bitterness, Estelle's approach is more nuanced and humane. The crossover hit 'American Boy,' featuring Kanye West, showcases an irresistible hook and dynamic production by Will.I.Am. Tracks like 'More Than Friends' and 'Pretty Please (Love Me)' highlight Estelle's warm, unpretentious style, making the album's sporadic shifts forgivable. While the album sometimes feels like a chaotic blend of influences, it ultimately affirms Estelle's potential, even if her artistic direction is still evolving.

Review: Etch returns with a seismic new release, diving deep into sonic world-building that spans dubstep, jungle, garage and hip-hop influences. On Scream of the Butterfly, Etch assembles an eclectic cast to explore darker shades of club music, starting with the thunderous low-end on the opening track, which signals this album as more than just club fodder. J-Shadow's footwork flair on 'Star Fallen' and Lee Scott's unmistakable flow on 'Not Surprised' add to the atmosphere, while E.M.M.A's ambient touch on 'Stepford Lives' creates an eerie midpoint. Each track veers from intense bass to atmospheric experimentation, making this a masterclass in evolving bass music.

Review: Faith Evans released her Keep The Faith album, one of the three platinum-certified records she put out between 1995 and 2001, just 12 months after losing her then-husband Notorious BIG. It arrived on Bad Boy Records and was almost entirely written and produced by Evans herself. It was a highlight of the 90s soul-pop era with top ten singles including 'All Night Long' and 'Love Like This.' Evans brought plenty of raw pain to her vocal deliveries even though on the surface the commercial r&b tunes are easy to access. It's a heartfelt homage to her late husband that is just as touching today.

Review: Peter Evans makes a dynamic entrance on We Jazz Records with Extra, a bold and energetic album set for rele. The trio includes Evans on trumpet, bassist Petter Eldh, and drummer Jim Black. This collaboration, recorded at Lisbon's legendary Namouche Studio, shows a tightly-knit group that thrives on pushing boundaries together. Evans, known for his exceptional trumpet technique, brings a fearless approach to these eight original compositions, allowing the chemistry between the musicians to lead the charge. The album bursts to life with 'Freaks', immediately setting the tone with intense, forward-thinking jazz. Eldh and Black provide a powerful rhythmic foundation, allowing Evans' trumpet to soar and explore new musical territories. Tracks like 'In See' and 'Boom' are fiery and unpredictable, while 'Movement 56' and 'The Lighthouse' offer unexpected twists and shifts in direction, revealing the trio's playful and exploratory nature. This is creative, modern jazz at its finestia celebration of musicians pushing each other into uncharted sonic landscapes while still maintaining a strong, cohesive unity throughout.

Review: XL Recordings founder Richard Russell has been rather busy of late. First came the publication of his memoir, "Liberation Through Hearing", and now this: the follow-up to his 2017 debut album as Everything Is Recorded. Like its predecessor, "Friday Forever" was produced and mixed by Russell but also contains contributions from a wide range of artists including Ghostface KIllah, Penny Rimbaud, A.K. Paul, James Massiah, Infinite Coles, Irish singer-songwriters Maria Somerville and Kean Kavanagh, and a host of new-breed British MCs. There's a concept behind it - the sound-tracking of a night out and the weekend that follows - with the music brilliantly joining the dots between hip-hop, neo-classical, soul, proto house, reggae, jazz and much, much more. That it not only holds together but also makes perfect sense is testament to Russell's growing skill as a producer.

Review: Great Cape Verdean singer Cesaria Evora was pretty prolific and put out several still well-regarded albums, from Distino Di Belita to Cafe Alantico via Vox D'amor. Many of them have been reissued recently and next up to get that treatment is Club Sodade, which finds a bunch of her tracks getting a contemporary club rework by a wide array of musicians. It comes on heavyweight red vinyl so is ready for serious DJ deployment. Carl Craig's mix of organic hand claps and fizzing techno synth intensity on his rework of 'Angola' is one of the most well-known cuts here but deep house heads will also know and love Kerri Chandler's percussive take on 'Nho Antone Escarderode.'

Review: The Mercury Prize-winning British jazz group returns this September with the greatly anticipated follow-up to the award-winning 'Where I'm Meant to Be'. The first jazz group ever to win the prestigious accolade, their unique blend of jazz, calypso, afrobeat and roots has carried over into the two singles 'God Gave Me Feet For Dancing' and 'Ajala'.The former features up-and-coming star Yazmin Lacey, whose sudden scouting has made her a necessary one to watch in the British soul scene. Interpolating Nina Simones's 1965 classic 'Feeling Good', the track proposes the group's manifesto of dancing not just as an activity confined to the club, but as a God-given ability - an act of spirituality and community. 'Ajala', by contrast, is a fast-paced afrobeat-cum-bebop jam named after the Yoruba slang for being unable to sit still. Lucky fans were able to hear the recording live at the 'Beyond the Bassline' exhibition at the British Library - with some of the live adlibs and crowd work being included in the single version currently on streaming. Pressed on an indie-exclusive deep red stain disc.

Review: Dance, No One's Watching is a vibrant tribute to the joyous act of dancing and a night out from the anticipation of evening to the early morning hours. Written during Ezra Collective's whirlwind 2023 world tour, which saw them become the first jazz act to win the Mercury Prize, the album reflects the global dancefloors they experienced, from London to Chicago, Lagos to Sydney. Dance and rhythm unite us all, a spirit celebrated in these tracks. Recorded at Abbey Road studios, the sessions transformed into a live celebration with friends and family, adding a communal warmth to the music. The album features collaborations with Olivia Dean, M.anifest, Moonchild Sanelly, and Yazmin Lacey, who sings on the lead single 'God Gave Me Feet for Dancing.' This new album follows their acclaimed Where I'm Meant to Be, and continues to showcase Ezra Collective's innovative contributions to contemporary British music.

Review: One year on from making history as the first ever jazz band to be awarded the Mercury Prize, Ezra Collective are continuing to pump out their sensational, unique blend of jazz, roots, afrobeat and calypso. 'Dance No One's Watching' is the highly anticipated follow-up to the aforementioned award-winning 'Where I'm Meant to Be'. Set to release in September, the two singles 'God Gave Me Feet For Dancing' and 'Ajala' set the bar high. The prior is a jazzy, drum-led groove backing the buttery smooth Yazmin Lacey, a name to watch in the soul scene (famously she was scouted after being persuaded to sing on a drunken night out.) The track is a sunny interpolation of Cy Grant's 'Feeling Good' (though let's face it, Nina Simone truly made that record) with a quintessential British soul sound that brings to mind the stylings of Greentea Peng, early Jorja Smith work etc. To boil it down to 'easy listening' would feel reductive but, my God, it's easy on the ears for sure. Single number two, 'Ajala' is quite a stark contrast. Incorporating the hectic feeling of bebop classics, it's a blaring and fast-paced brass session with some great high-tempo percussive afrobeat. Taking its name from the Yoruba slang for fidgety, derived from the Nigerian journalist who one day decided to travel the world on a moped, the track does just that: it begs you to get up and move. If these two tracks are anything to go by, the world is set for a future award winner this Autumn.

Review: Dance, No One's Watching is a joyous celebration of the unifying power of dance. Written during Ezra Collective's world tour in 2023, which also saw them become the first jazz act to win the Mercury Prize, this album is full of vibrant energy, a complete sonic journey through a night out in the city, this album succeeds from the opening anticipation to the dawn's quiet conclusion. Recorded at Abbey Road Studios amidst a live communal celebration, Dance, No One's Watching resonates with love, music, and the infectious spirit of dancing. The band's dynamic compositions and rhythmic power are showcased in every track, making it a powerful addition to contemporary British music. The Deluxe 2 LP set on black vinyl, housed in a gatefold jacket with exclusive artwork and a fold-out poster, makes this limited edition the copy to have. Ezra Collective's are innovative with a unifying musical vision.

Review: Him Lo of Da Buze Bruvaz steps up as executive producer to introduce Graffiti Legend Enem Ski of TDK crew, the latest member of the Grilchy Party team. Known for his iconic work in the film "INFAMY," Enem Skiwas initially brought on board for his graffiti mastery. However, his MC skills soon took centre stage which resulted in this six-track EP. Featuring hard-hitting beats from Wino Willy, Giallo Point, Senz Beats and Him LO, the project explores themes from graffiti culture to life's harsh realities. With limited features from Dz Buze Bruvaz this EP showcases Enem Ski's lyrical prowess and Philly's raw street essence.

Review: Jeff Parker's The Way Out of Easy harnesses his long-running ETA IVtet's residency at the Los Angeles creative music venue, ETA. Featuring saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose, the album comprises four expansive tracks recorded live on January 2, 2023. Known for their transcendental, groove-oriented improvisations, the ETA IVtet's sound evolved over seven years, blending minimalism and polyrhythmic mantras. Engineered by Bryce Gonzales, who designed a custom mixer specifically for the group, The Way Out of Easy presents a pure, transparent auditory experience. The set begins with 'Freakadelic', a composition from Parker's 2012 album, before moving through meditative and richly textured pieces like 'Late Autumn' and 'Easy Way Out'. The album closes with a spontaneous dub/reggae groove titled 'Chrome Dome'. As the final chapter in ETA's history, The Way Out of Easy is a testament to the ensemble's deep creative synergy and the enduring spirit of the venue.

Review: Nothing Leaves The House: The Anthology brings together four talented producers who each bring their own flavour to instrumental hip-hop. Tall Black Guy kicks things off with 'One to One,' a jazzy, laid-back track with a smooth groove, followed by 'Solar Coaster For The People,' which ups the energy with its infectious rhythm. Eric Lau's 'Chop For Mr Thing' is a standout, with intricate beats and soulful layers, while Kidkanevil's 'Loopin' Ill' brings playful, quirky melodies. Mr Thing closes the collection with 'Changes,' a funky, groove-driven track that wraps things up on a high note. An essential compilation for fans of soulful hip-hop and jazzy beats.

Review: Legendary Queensbridge MC Tragedy Khadafi and acclaimed producer Endemic Emerald met a decade ago at Goblin Studios in Queens. They soon found they had shared musical chemistry and have worked on several great songs together. Now they drop Rebel Kings, a new album that again lives up to the hype. Tragedy is in fine flow through as he touches on a wide range of subjects in evocative fashion over the timeless production of Endemic. Nods to the game, childhood memories and much more all comes up on these well-crafted songs with plenty of boom-bap stylings and guest appearances from DJ Eclipse, DJ Akil, Kasim Allah and Foul Monday.