Back catalogue: All genres

Review: With Ritual, electronica mastermind Jon Hopkins follows up his storied meditation-aid LP, Music For Psychedelic Therapy, for a return to the sublime uplifts that characterised his establishing sound. Somehow, Hopkins says of his latest full-length, "I have no idea what I'm doing when I'm composing. I don't know where it's coming from, and I don't know where it's going, nor does it seem to matter. I just know when it is finished." Such remarkable humility sits in in stark contrast to the deep grandeur of the record, which refreshingly seems to have been made without overconscious intent; Hopkins' describes his approach to the album as a simple matter of creation, without too much second-guessing or reasoning after the fact. This would seem to counteract Psychedelic Therapy's interest in self-reflection and personal enlightenment; Ritual, as we glean from the title, is more action-oriented, pursuing the many epic pilgrimages and blue beyonds that Hopkins was first known to have embarked upon.

Review: At this point in his career, it seems that classically trained pianist come electronica visionary Jon Hopkins can do no wrong. Whether we're thinking of his unmistakable all-time great LP Immunity, or his more recent inward-bound journeys into a trippy serial panacea, Music For Psychedelic Therapy, the musician, in Domino's own words, is an established auteur, capable of casting a whole range of dark sonorous arts perhaps only the most storied audio wizards can cast. His latest record, Ritual, is the latest utterance to escape the Hopkins grimoire; staying true to the adage that a real magician simply does not reveal their secrets, Hopkins is deliberately cryptic about the meaning of Ritual, except for the fact that his music-making process is itself a ritual. Humbly, he insists "I have no idea what I'm doing when I'm composing". Well, from the various sublime, epiphanic, master-warlock's evocations heard across this record, it sure doesn't sound like it!

Review: Originally released in 1998, Mixmaster Morris & Jonah Sharp's Quiet Logic surprisingly flew under the radar when it came out.- perhaps because of the huge amount of electronic music being released at the time. The pair have some of the most important albums and tracks in their respected genres and are arguably two of the most important figures in the electronic music chill out scene from the 90s, and when you add the input of Haruomi Hosono from Yellow Magic Orchestra on two tracks, it becomes an even more essential listen. Chill out heads unite!

Review: Back in the 1990s, the combination of Mixmaster Morris, Jonah Sharp (he of Spacetime Continuum fame) and Haruomi Hosono was the closest thing you got to an ambient supergroup (the Orb's collaboration with Robert Fripp and Thomas Fehlmann as FFWD not withstanding). The trio only recorded one album together, the sublime Quiet Logic, but it's an absolute doozy - as this timely reissue proves. For one reason or another, it was only ever released in Japan at the time, meaning this is the first time it has been available worldwide. As you'd expect with such masters of the art form at the helm, it is genuinely superb - a slowly evolving opus that moves between unfurling, dub-fired ambient techno ('Waraitake') to ambient jazz eccentricity ('Dr Gauss/Yakan Hiko (Night Flight)'), via deep ambient d&b ('Uchu Yuei (Night Swimming)') and deep space ambient.

Review: Apodelia is Hotspring's second solo release on Mood Hut; the record is partly a further exploration of song forms, studio techniques and instrumentation explored on 2020's Obit For Sunshade. This latest addition to the artistic moniker of Scott Gailey Spring explores lifting into revealing; scouring fidelities, playing with emotion, and improvising by night. A timestretched, textural nocturne is painted in sound, echoing a more contemporary incarnation of mid-'10s Mister Lies; the glassy piano refractions of 'Glanzstrasse 6', the ripply audio-pools and autotunings of 'Organ With Fire' and the beat-cracklings of 'Day Moment' are all highlights.

Review: As they mark over two decades of collaboration, HTRK continue to thread past and present with a new, upcoming reissue of Rhinestones. First self-released in 2021, the album marked a stylistic turn for Standish and Yang, embracing a sparse and haunted approach to songwriting inspired by gothic country and Western folk minimalism, contrasting their earlier dub-punk dramatics. More emotionally forthright as their records go, it drifts over echoic acoustic textures, hushed vocals, and a characteristic metronomic pulse, conjuring a shadowy, intimate atmosphere. A landmark release epitomising their noted progression out from minimal-wave origins to "gentler, more inviting" territory, Rhinestones motivated a quiet resurgence for the band. This reissue follows the 2024 repress of their debut Marry Me Tonight and the collaborative 'String Of Hearts' EP, with reinterpretations from peers like Loraine James and Liars, reaffirming HTRK's strong creative orbit.

Review: A reissue of the third LP from Brian Leeds, an American DJ and producer based on Brooklyn, originally from Kansas City, if this is your first time coming across his work then prepare for a pretty deep dive into lush, dreamy soundscapes, otherworldly drone, and adventurous aural effects, all of which are realised with a musicality that goes well beyond many digital composers.


First unveiled to critical acclaim back in 2016, proof of concept is in the pudding here - one earful and you realise just how much here stands up to new productions today, explaining a little about why people were painting Huerco S as something of a visionary when the debut long form, Colonial Patterns, first arrived. Building on the blueprint laid out then, For Those Of You... is a rich and captivating ambient listening experience that's more than worthy of the spotlight second time round.

Review: Kicking off his new R&R imprint, LA-born and Berlin-based producer Huerta brings us TV Slang - an LP which exists somewhere between rhythmic and ambient house. For the title track, woozy voice samples drift in and out of focus, existing in a space just outside of reality. 'Stutter Dub' emerges as one of the more dance-geared tracks, yet it's still decorated with the hazy sound design of the release's ambient numbers; its buffed-out environment softening the edges of Huerta's percussion. On the B-side, 'Traces' features dreamily reverberating piano chords embellished with glittering breaks. This is a highly multi-faceted release which promises to take listeners and dancers alike into a beautifully realised soundworld.

Review: Trumpeter Chris Ryan Williams and cellist Lester St. Louis form HxH (H by H) are a boundary-pushing electroacoustic duo who work with acoustic instruments and electronics in real-time. Their debut album, released on KMRU's label OFNOT captures their expansive, sculptural sound, and it is one rooted in jazz, noise, classical and Black experimental traditions. Drawing comparisons to Sun Ra or Laurel Halo, their music is fluid, unpredictable and emotionally resonant. Tracks like 'Pyrex Vision' and 'BEACH' showcase a dynamic interplay between form and freedom and are influenced by visual artists like Torkwase Dyson. HxH's sonic world is both daring and intimate and is an ever-shifting architecture of sound.

Review: Some albums deserve to stay buried, but Hydroplane's 1997 debut album is not one of those. An alternative project from shoegaze-influenced indie band The Cat's Miaow, the self-titled album offered a uniquely hazy, spaced-out blend of lo-fi dream pop vocals, atmospheric guitar textures, DJ Shadow style sample collage, stoned beats, Radoiphonic Workshop style electronic experiments and '90s ambient tropes. It's an unusual but hugely alluring musical melting pot that went largely overlooked at the time - hence this first ever vinyl pressing of the previously CD-only set. We'd recommend giving it a listen because it really is in a genre sub-category all of its own.