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Back catalogue: All genres
Juno's full catalogue of All genres
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Review: Way beyond its New Beat roots, Boccaccio was one of Europe's most influential clubs and known for operating at the cutting edge of house, techno, acid and beyond, and for shaping a distinct sound that defined Sundays in rural Destelbergen. Curated by Olivier Pieters and Stefaan Vandenberghe, Boccaccio Life 1987-1993, released by Belgian label Music Man Records, captures the raw energy of a scene ahead of its time. Four VA Eps from it bring the tracks to wax and this one has four seminal US artists at their most visceral and impactful.
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Review: Jamaican vocalist Earl Sixteen's 1980 recording finally lands on 7" vinyl, produced by Earl Morgan of The Heptones and recorded at Harry J Studios. The vocal cut rides a familiar steppers rhythm also heard on tracks by Lacksley Castell and Black Uhuru - crisp, driving, and minimal in arrangement. Sixteen's delivery is measured that sits just above the groove without crowding the mix. The B-side features a dub version mixed by Sylvan Morris. It's restrained, focusing on dropouts and echo placement rather than full reconstruction. Both sides maintain clarity and space, typical of the era's late roots sound. A concise, well-pressed archival issue that foregrounds the essentials: voice, rhythm, and atmosphere.
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Review: Three Es would be some trip, and EEE also symbolises guaranteed good times in the club. The mysterious label and eponymous artists keep on rolling out essential tech and minimal cuts that are smartly designed and authentic, but also with anthem potential. Maybe that's why each one is a one-sided 12", to really allow the tune room to shine. In this case, dusty drums with a hint of garage swing and shuffle are paired with melodic baseline motifs and colourful synth patterns. It's a good time groove with plenty of heart.
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Review: Norwegian producer Ekkel, co-founder of Ute Records, returns with four sharply drawn tracks for Seismic's third release. His blend of 90s-indebted progressive textures and rhythm-forward minimalism remains intact, though with new, more interior inflections. 'Hradec Fog Fever' is the steadiest of the lot-clean, rolling percussion and tight low-end restraint-but it's 'Owl Foot' that lingers, pairing whispered vocal snippets with eerie atmospheres and subtle motion. On the B-side, 'Drum Ring' builds unease through gritty kicks and unresolved phrases, echoing trance motifs without ever fully revealing them. 'Endphase' teases a moment of release via distant melodies, but soon undercuts it with brittle, clipped drums. This is dance music in a minor key-focused, evocative, and unusually meditative. A smart addition to Seismic's emerging catalogue, and a compelling statement from one of Norway's most consistently interesting underground names.
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Review: British indie darlings Elbow return with their fifth EP this June, and their latest offering features last year's standalone single 'Adriana Again' alongside three brand-new, previously unheard tracks. Frontman Guy Garvey calls it a full-circle moment for the band in which they reflect on a creative peak where studio sessions are brimming with fun and fire. The EP blends soulful, textured instrumentation with lyrics rooted in Garvey's personal past so they are equal parts dark, joyful and reflective. Here are plenty of unpredictable guitar flourishes, a rock-solid rhythm section and bold production from Craig Potter all helping to make this feel both exhilarating and intimate.
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Review: A masterclass in stark 'Kontrast' comes by way of producer Elektrotechnik, whose latest 12" here for Gladio Operations does unsurprisingly well to contrast his prior digital-only issue for A-Traction Records. Through glommy, paralytic, salivary sound design, 'Sigma' and its corresponding remix by Larionov mission-state the EP: one pronouncedly unafraid of weight or womp, and yet which still scoops out a mercurial feel akin to a volatile solder metal prior, pre and post-solidification. 'Kontrast' and 'Die Bestie' on the B-side sound like said reflowed solder chucked through a giant techno kaleidoscope, as both tracks move increasingly hypnotic and heavy.
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Review: Mysticisms imprint strides purposefully into 2025 via a multi-artist extravaganza that touches on many of the label's regular musical themes. To kick things off, Utopia Records main man Alex Bradley offers up his take on Elements of Life's 1996 jam 'Are You With Me Love', reimagining it as a deep and spacey roller rich in languid trumpet motifs, metronomic synth bass and intergalactic pads, before Norwegian veteran Oyvind Morken asks 'How Bleep Is Your Love' via sprightly analogue synth sounds and jacking, sweat-soaked machine drums. Over on side B, Eirwud Mudwasser and Romansoff join forces on the deep, dubby, steel pan-sampling early morning tribalism of 'Cherrie', while N-Gynn treats us to a spot of deliciously deep acid house ('Es V edra TB Deluxe').
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Review: German techno DJ and producer Tim Engelhardt takes a bold steps toward ascendant progressive techno with 'My Joy', his latest for Habitat. Nodding to the many sun-drenched euphorias personally experienced in Ibiza, this is a true live-it-up house record. Panned organs and subtle vocals take centre stage on the A1, while the B 'Love Triangle' complicates things with a beachside love involution. Midway moment 'Take Control', meanwhile, marks the record's pivotal shift from organ-led emotion to a percussive lock-in.
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Review: South London's Tom Esselle returns with a standout EP on Rhythm Section that cements his place at the core of the UK underground. Building on past successes like 'Praise Bes' on Wolf Music and 'Lou's Groove' on Rhythm Section, this release shows off his wide-ranging house influences which have all been refined through collaborations with Chaos In The CBD. The A-side delivers club heat with 'Baddies' featuring a killer mid-2000s r&b sample, and the techy 'Plaything'. The flip is breezier as 'One Of These Days' shines with Dave Koor's jazzy keys, while 'Harmonise' closes things with dreamy warmth. A mature, versatile offering from a producer hitting his stride.
… Read morePlayed by: Bryan Hervieu
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Review: FoxBam Inc returns with its fourth EP featuring a powerful mix of floor-shaking productions. The release includes contributions from Gez Varley, best known for his work with LFO and classic tracks like 'Quo Vardis' alongside Italian acid producer Vikkei and label founders Foxtrot and Egebamyasi. This new one opens with the acid-heavy 'Battle Scars' while Vikkei delivers the hard techno 'Hip 'n' Crack.' Egebamyasi explores bass-driven wobbly dubstep with 'Mandubchester' and Varley's 'Saturn One' brings cinematic vibes to his signature techno style. Launched in 2023, FoxBam Inc is already becoming a key player in the underground.
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Review: Portugal has always had its own thriving scene right back to the days of 90s rave and techno. But in recent times it seems to be having a wider cultural impact with the arrival of plenty of great artists, labels, radio stations and collectives getting proper recognition across the global underground. Just over the Tagus river from Lisbon comes this new label oDYSea from the Caparica coast, and it's headed up by Penelope. GNMR's 'Zen' kicks off with cosmic tech and snappy kicks then Pakzad's 'I Could Never Imagine' is a mid-tempo and warped tech cut with hissing hi hats and psyched out colours. Eversines's 'Randomized Controlled Trial' is taught and trippy techno then Oscillator Man's 'Turning The Mix Up A Bit' is an acid-laced sleaze-fest.
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Review: Boccaccio was one of Europe's most influential clubs back in the late 80s and early 90s. Based in rural Destelbergen, it was a place where new beat, acid, techno and house all collided, and Boccaccio Life 1987-1993 is a deep dive into the electrifying soundscapes of the time. It comes on Music Man Records and is a 40-track compilation that reclaims Boccaccio's legacy beyond the overly reductive new beat tag. Resident Olivier Pieters and club regular Stefaan Vandenberghe are behind it, and have split the full selection into four vinyl parts. Bobby Konders's 'Let There Be House' is the killer here, but all four cuts are deliciously dark and heads down club tackle from a golden era.
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アルバム
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Review: E-bony's Digital Dawn album is about "defining his identity as an artist" and it comes through INDUSTRIAS MEKANIKAS. This 12-tracker welds together electro and techno with plenty of personal sound perspective and dark textures that keep it decidedly underground. Collaborating with Noamm on four tracks, their creative synergy adds depth and elevates the record's complexity with the likes of 'Matrix Kod' getting gritty and eerie, 'Aurora Noir' bringing snappy kicks and coruscated acid lines and 'Data Delight' fizzing with pixelated synth sugariness.
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Review: How much soul and funk does East of Underground deliver? A lot, that's how much. This raw and righteous gem from 1971 was originally issued by the US Army and handed out to troops during the Vietnam War, which means that original copies are insanely rare and pricey. Thankfully, this reissue brings it back to the people, minus the less memorable Soap LP. What remains is pure fire: gritty covers of Curtis Mayfield, Funkadelic, James Brown and more, all of which are played with heart and urgency by a group of enlisted musicians. Bonus fact: their take on The Fuzz's 'I Love You for All Seasons' became the backbone of US trap star 21 Savage's 'A Lot.'
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Review: El Buho's (Robin Perkins') influential 2017 debut album returns with its first repress, aiding our reflections on an album that helped define the digital folklorica and "natural cumbia" movements emergent in electronic music in the latter half of the 2010s. Balance weaves a complex darn of naturalism, Latin American rhythms, and modern synthetic percussion design, smudging the lines cordoning off organics and synthesis. Hailed in the press as "the ultimate fusion of nature and music" and for evidencing Mexico's indigenous roots in sound, El Buho helped bridge organic and digital worlds of cumbia Andina and chicha with electronic textures here, presaging and perhaps causing the clamour over cumbia that has since ensued.
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Cat: TPLP 1964LTD. Rel: 05 Jun 25
Experimental/Electronic
Review: Nadah El Shazly returns with her second album and first on One Little Independent and Backward Music. The Egyptian-born, Montreal-based artist blends experimental sonics with Arabic roots and improvisation on Laini Tani, and crafts music that slips between worlds and takes you with it. The whole record pulses like a hot night stretching into morning. It's sweaty, surreal, and endlessly alive and each track is a vivid fragment: defiant, euphoric or quietly raw. El Shazly's lush vocals and layered metaphors weave a dreamstate of meaning and mystery that bold and chaotic yet controlled so is a record to get lost in, then hit repeat as you try to decode its hidden truths.
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Cat: 964118 551. Rel: 02 Jun 25
Progressive Rock
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Review: Brian Eno, legendary master of ambient music and Beatie Wolfe, the LA-based conceptual artist known for her innovative blend of the physical and digital, unite for a collaborative sonic exploration. Throughout 2024, the two artists recorded material that bridges the boundary between deeply personal emotions and universal experiences, creating an evocative soundscape. The work pulses with the distinctive energy of Eno's ambient prowess, while Wolfe's haunting vocals add a layer of intimacy. On tracks like 'Milky Sleep' and 'Hopelessly At Ease', the listener is swept into a dreamlike state where time feels suspended. These moments of calm are balanced by the more urgent, yet still deeply meditative, 'Suddenly', which sways between serenity and tension. The delicate interplay between light and shadow becomes even more palpable on 'A Ceiling and Lifeboat', where the quiet sense of stillness gives way to a profound sense of rebirth. There's a sense of movement throughout the releaseiparticularly on 'Breath March', where rhythm and texture converge with palpable energy. Eno's atmospheric layers create space for Wolfe's voice to become a thread, guiding the listener through these reflective, almost sacred-feeling sonic spaces, where every note invites introspection and feeling.
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Review: Brian Eno, a towering figure in ambient music and a master of sonic landscapes, has shaped the contours of modern music through his production collaborations with iconic artists like David Bowie, Talking Heads and U2. His latest work with Beatie Wolfe, a conceptual artist from Los Angeles, encapsulates a career of endless reinvention. Recorded in London, the collaboration weaves together the worlds of alternative vocals and ambient soundscapes. 'Big Empty Country' serves as a vivid contrast between light and darkiits day and night versions embodying the very essence of Eno's immersive, evolving sound. Much like his work as part of Roxy Music and beyond, this release is both forward-thinking and introspective, grounded in a shared commitment to environmentalism and artistic exploration. It's a meditation on space, sound and feelingian unbroken thread in Eno's enduring legacy of artistic expression.
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All The Footprints You've Ever Left & The Fear Expecting Ahead (reissue) (limited silver vinyl LP + insert)
Cat: TRR 129LPC1 . Rel: 13 Jun 25
Punk/Hardcore
Review: Japan's Envy created one of the most respected post-rock screamo albums of all time with this third album of theirs. Originally released in 2001 on Japense punk label H.G. Fact and again as a limited released in 2003 on Dim Mak Records in the U.S., with not many physical copies printed they've been scarcely available. Thankfully, that's all about to change now that this enduring masterpiece of foreboding post rock and blisteringly powerful screams is getting repressed. Envy's strength lies in their ability to flip flop between introspective atmospheric passages and intense guttural aggression within a track and for it to be cohesive. That said, where they don't relent, like on 'Invisible Thread', the adrenaline really kicks in and it's a palpable reenactment of the atmosphere at their live shows.
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There's A Light (Record Store Day RSD 2025) (red vinyl LP)
Cat: GLAMLP 068. Rel: 10 Jun 25
Indie/Alternative
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Review: Southwind from Hachijo is a rare gem from 1990s Japan dug out delightfully by Forest Jams and written by E.S. Island. This reissue of it dives deeper into ambient terrain while embracing tribal and spiritual tones unlike previous works. It was recorded on the remote Hachijo Island and is awash with organic textures and traditional Japanese instruments that effortlessly make for a meditative soundscape. The music is largely performed by the late Eisuke Takahashi and Nene Sanae, whose chemistry channels the island's raw, natural energy into its ever-shifting tones and timbres. It's a deeply personal and atmospheric listen and an ode to place and spirit that takes you there in an instant
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Review: Phil Evans' second album follows a series of standout EPs on Blankstate, Sensual, Twig, Vigenere and his own Pager Records; the Frankfurt DJ and producer doubles as the Freizeit Records co-founder of Pager, helping set in e-motion the evolution of his local underground electronic scene. With minimality at its core, we hear on E Motinos a reserved and calculated three tracks per vinyl side, preserving optimal, skipless groove quality: 'Eazin', '<3', 'Hm' and 'Deep' prefer a near nonverbal titular expressivity, resisting any reference to the record's tricky, body-jacking movements in any capacity except through body language.
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