Back catalogue: All genres

Review: The fourth full-length from Mexico's post-metal-tinged melodic crust-punks Habak follows on from two previous collaborative efforts with also Tijuana-based post-rockers Fractal and Los Angeles crust-punk outfit Lagrimas, marking their first sole studio full-length since 2020's Ningun Muro Consiguio Jamas Contener la Primavera. Expanding their diverse, abrasive sonic palette more than ever before, drawing on elements of late 90s "skramz" era screamo, blackened hardcore and shoegazing post-rock, yet all coalesced under the black breath of their obligatory crust-punk sound, Mil Orquiideas en Medio del Desierto illustrates a band reaching the peak of their prowess and potential while offering a unique perspective on all of the above mentioned subgenres, with just that tincture of Mexican folklore for that added, incomparable aura.

Review: Detroit dub techno don Luke Hess says that this is his "most eclectic and techno-driven album to date" and that it blends together his signature subterranean sounds with his indelible Motor City touch. It again works well on cultured dance floors but is also a deeply spiritual album that will have your mind wandering to some lovely places. From the opening moments of 'Dokimion' you're sunk into widescreen soundscapes that pair painterly synths with immersive low ends. Cuts like 'Stoicheo' bring serene melodies and closer 'Hiketeria' is a misty, foggy cut that oozes late-night intimacy.

Review: Buddy Holly defied rock star stereotypes with his Ivy League style and horn-rimmed glasses, yet his impact on music rivals legends like Elvis and Little Richard. This 20-track collection celebrates the legacy of Holly and The Crickets and takes in many of their most iconic hits like 'That'll Be the Day' and other gems released under his various different monikers. Despite his tragic death in 1959, Holly's brief yet brilliant career left an indelible mark on rock 'n' roll after he emerged by mixing up Texas country roots with r&b influences with great guided by producer Norman Petty. Holly's sound was both fresh and timeless, and this album proves what a pioneer he was.

Review: 70s and early 80s Jamaican producer Keith Hudson's approach to dub was never about smooth edges or easy rhythms. His productions are dense, disorienting, heavy with delay, bass and drums that sound like they're ricocheting down a well. The Soul Syndicate, his long-time studio band, provide the backbone hereideeply locked-in grooves that Hudson warps into something ghostly. 'No Commitment' staggers forward with stabbing guitar chops that seem to dissolve mid-strike, while 'Ire Ire' loops through warped vocal fragments and echo chambers that stretch into infinity. 'Bad Things' and its dub counterpart pull apart the rhythm until it feels skeletal, each hit landing in the empty space between delay trails. Hudson's use of reverb and tape manipulation isn't just about atmosphere, but about control as well. He shifts and reshapes the mix to turn steady rhythms into something unsteady, always shifting just out of reach. 'Desiree' drifts through flickering hi-hats and cavernous low-end, while 'Keeping Us Together' seems to slow down and speed up in the same breath. There's something darker, more claustrophobic in the way he structures space and silence. Even the brighter moments, like 'Mercy' with its open, rolling groove, carry an unease, as if the music itself is bracing for collapse. Hudson was an architect of mood, twisting familiar elements into something deeply immersive and strangely hypnotic.