Back catalogue: All genres

Review: Founded in 2023, Category 1 Music (C1M) builds on deep roots in house music, focusing on soulful house vocal productions on a fine international scale. Beyond digital releases, they're now diving into vinyl with a series of exclusive drops; the first is a Category 1 Music Sampler, a 12" of four standouts by Terry Dexter, Michael Gray, Dr Packer, Richard Earnshaw, and DJ Spinna. Organic but still well cooked Ibiza house predominates the set menu, whether by way of the ultrasoul wateriness of Terry Dexter's 'You Saved Me' or the tighter but still dreamy entreaties of Shawn Christopher's 'He's Got It', both translated in exquisite mashup form by the likes of Gray and Packer.

Review: Figi and Luca dell'Orso are Dutch electronic talents who offer up a heartfelt tribute to the vocoder here, long after it has become the iconic voice of electro disco. Across the three well-designed tracks, the duo blends sharp production with lush textures and bittersweet robotic vocals that add an unmistakably retro-future feel. The title track kicks off with rumbling bass and crisp percussion driving it along as vocodered lyrics glide over the shimmering keys. 'Fire with Fire' leans into Luca dell'Orso's more emotive side and balances bold synths with a melancholic undertone. Figi closes with 'Moonlight (Vocoder Version),' a syrupy disco tale of love told through vocoded whispers. It's a timeless celebration of the fusion between man and machine.

Review: Rushing from the starting blocks as though life depended on it, Kahler opens the scoring with the perfectly balanced and fine-tuned 'Mosaic', a driving, percussive techno workout that's direct and peak time yet also minimal and patient, poised even. Grillac follows suit, keeping things ghostly with plenty of energy coming from the top ends, while using a vocal hook to add a little rave bounce. By now, it's probably clear R 0 01 is a strong collection of belters, and the remainder do nothing to quash that belief. Lorenzo Mancino and Exos arguably unleash the most fury - tracks that feel like stepping into a warehouse party in 1999 with a nose full of whizz and stomach full of pills - while BENKHLIFA keeps it more heads down and Berlin.

Review: Kero Uno has been kicking for almost two decades, credited with reviving jazz sensibilities in hip-hop almost three decades since it, unfortunately, fell out of fashion around the turn of the century. K1 introduces city-pop and jazz-hop to two of Kdots biggest tracks, 'Bitch Don't Kill My Vibe' and 'Love', the former of which was put on SoundCloud almost a decade ago now and created nothing but buzz. K1 skyrocketed to fame, having his album crowdfunded by excited fans and catching the attention of Kendrick's own mix engineer Derek Ali. The 'Don't Kill My Vibes' mix flips the 2012 hit into a vibraphone-led synthy jazz slice of heaven, while the 'Love' flip, 'Vinyl Love', is a chill, wavey city-pop banger, with subtle brass and airtight percussion coming together in perfect matrimony.

Review: Planka Records continues to lay out its musical agenda with a fourth EP that takes the form of a forward-thinking compilation that blends fresh talent with trusted names. Hypnotic rhythms, shimmering textures, and fearless experimentation define this release, creating a soundscape that's equally suited for deep club immersion or solitary reflection. House, electro, and techno influences blur seamlessly, crafting tracks that transcend time and genre. Each cut pulses with enigmatic energy, pulling the listener deeper into Planka's evolving sonic universe. With PLNK004, the label reaffirms its role as a tastemaker-consistently championing innovation while staying true to its raw, underground roots. An essential, boundary-pushing listen.

Review: Jacopo Latini returns to Altered Circuits with a four-track EP that sharpens his minimalist approach while maintaining his signature melodic touch. Focused squarely on groove, each track explores subtle yet impactful progression and opener 'Sharp' sets the tone with eerie atmospheres, vocoded vocals and fluid 303 squelches. 'Impulse' rides a hypnotic FM bass and sharp percussion for a dramatic yet refined journey. 'Bright Sound' balances modulated leads and deadpan vocals with euphoric touches and closing track 'Rave Harvey' bursts with '90s trance energy which marks a bold shift toward high-intensity club euphoria and minimal design with maximal impact.

Review: There are not many tracks that you could call timeless gems in the progressive house and trance worlds - but this track definitely can. Originally released in 1993 on Braniak Records, this track quickly garnered underground acclaim, becoming a go-to weapon for progressive and trance DJs. When Hooj Choons picked it up, 'Sacred Cycles' transcended the underground, solidifying its status as a trance classic. The track's hypnotic blend of ethereal melodies, pulsing basslines and spiritual samples continues to resonate with fans of the genre. The new Fort Romeau dub on Side-2 gives a new perspective to the iconic track. By honing in on the rhythm, Fort Romeau crafts a remix that innovates the track in different ways. The rework strips the original down to its core elements, emphasising groove and atmosphere while giving a contemporary edge that aligns perfectly with today's dancefloors. This release is a smart move by Hooj Choons, bridging the gap between classic trance euphoria and modern electronic sensibilities.

Review: Fedde le Grand's 'Put Your Hands Up 4 Detroit' shocked the world on first release, notably sampling Matthew Dear and Disco D's 1999 classic track 'Hands Up For Detroit'. The Netherlands electro-house cut is a worthy enticement for any floor-hardened modern listener; Flamingo Recordings oversaw its peak at number 4 before gaining traction across Europe. The official lyrics, as confirmed by le Grand, are "put your hands up for Detroit, our lovely city"; and a futuristic music video, directed by Marcus Adams, was filmed in a former Safeway HQ in Hillingdon, London, depicting a dystopian lab where androids are tested for human responses, ending in a system-wide shutdown after one discovers his own artificial identity. There's plenty of visual cultural material to psychoanalyse here, but we've no time; all we can say for now is that this one's a speedy sonic electroshock and a maximal noughts dance record, doing similar vibe mileage as Freestylers, Foreign Beggars or Benny Benassi.

Review: After a leapfrogging debut on Juan Forte way back in 2021, London dubsteppers Leftlow return with another well-wrought 12", again front cover artworked by in-house cartoonist Chas, 'Ones & Twos'. Snakes and frogs battle it out in spectacular antipathy, as a thick-rimmed double bill of heavyweight contemporary dubstep drillers prove difficult to flub. Juan Forte has been threading sound system culture through vinyl, visuals, and low-frequency gatherings since 2016; Beavs, Brizz, Dott, Fonz, Jaya, and Underhill hear loop-ins from resident illustrator Chas, building a growing family of producers; this latest pair of slammers is but one of at least six new ones to top up the exquisitors' outlet, whose remit spans everything from riso zines to CD-R style listening sessions.

Review: Emerging from Glasgow's ever-thriving underground, Lifeforms make a strong debut here and offer up a fierce fusion of gritty acid and synth-fuelled electro. Crafted entirely with raw hardware, these tracks overflow with DIY spirit and machine soul. Each cut channels the intensity of basement sessions and industrial textures, all grounded in pure analogue energy and mastered by Dutch West Coast legend Alden Tyrell. 'Mindtrip is one of our favourites with its gritty low end, distorted bass and rasping synth patterns all so tactile you feel like you could reach out and grab them.

Review: The legendary David Holmes returns under his new alias The Light Brigade, with a brilliant outing on Mystic Arts, which follows up his appearance on the Sounds From The Flightpath Estate compilation. Side A, 'Shuffle The Deck,' was made with electro don Keith Tenniswood of Two Lone Swordsmen and is a fiery, bass-driven sermon laced with gospel, acid loops, Arthur Russell-style cello and a sample of the late great Andrew Weatherall reflecting on rave as spiritual ritual. On the B-side, 'Only Love Can Save Us' is an expansive, kosmische-inspired collaboration with Michael Andrews that is chiming, soaring and deeply emotional. A moving and transcendent tribute to dance music's past and future.

Review: Eliot Lipp's latest is a classy melange of breakbeats, shimmering guitar samples and his signature Korg MS-20 synth work. First cut 'Kona' opens with a punchy but dubby rhythm before easing into a breezy, sun-soaked groove that evokes the vibe of a sunset drive or a chilled beach session. Lipp masterfully blends retro analog warmth with clean, modern production as he twists knobs and filters the Korn leads into cosmic rays that feel both nostalgic and fresh. 'Silver Bass' is perfect for summer soundtracking-whether you're coasting down the highway or dancing under the open sky, it's a deeply feel-good jam built for golden hour moments.

Review: UK-born, Spain-based house head Marlon Lopez faces off with downtempo king Nightmare son Wax here for a pair of dubbed-out cuts packed with soul and classic samples. 'Cancel Dat' rides a choppy groove with bleeping synth sequences and the tightest of pinging kicks, and as it unfolds, you get ever more hypnotised. 'Patang' has a dry, retro-future sound with chilly synth modulations and snappy hits, while a snaking, dubby bassline adds the weight. Two great sounds for back rooms and basements full of real heads only.

Review: Lo U returns with four club ready cuts that fuse the best of UK garage, breakbeats and deep electronic textures into contemporary killers. The EP opens with 'Transitus' where crisp UKG rhythms collide with a dark, neurofunk-inspired bassline then 'The Green Planet' follows with classic 2-step swing and a warped, heady breakdown. On the flip, Lo U revisits a label staple with a refined take on 'Platus Karma', injecting fresh style into the original while keeping its soul. Closing track 'Eresia' ventures into expansive, cinematic territory/. It was recorded live and sculpted in the studio so has a fresh feeling that blends broken beats with immersive soundscapes. All in all, a versatile release from a producer in peak form.

Review: Continuing their mission to retrouve genres across the spectrums of Latin funk and cumbia, Original Gravity welcome back founding favourites Luchito and Nestor Alvarez with yet another sonic vitamin D pill, presaging the warmer days to soon come. Both sides tap into that rich 60s and 70s Afro-Carib crossover sound, with, at least on the face of it, no studio trickery in earshot (though careful listens reveal the method behind the majesty). Anyone with a weakness for brass-led Latin burner will melt on contact with this one.

Review: French label Cairo Xpress debuts with a first-ever vinyl outing and a fine one it is too, with six stylish house outings from an array of fresh talents. Wilt's 'Beoyon' has lovely gloppy drums and bass looping under harmonic chords - it's simple but effective. Hermit gets more full-bodied with his textured 'Who Dunnit' and DOTT strips it back to bumping drum track workouts on 'Twitching Softly.' There is more irresistible bounce to Lucho's 'Mesh', Artphorm layers in some old school pianos to 'Daown' and HATT D shuts down with maybe the best of the lot, 'Contrasts In Life,' which is a broken beat, analogue sound with celestial energy.

Review: La Pambele, Bogota's salsa dura ensemble, distills the spirit of 1970s salsa while threading modern-day stories through every track. Their energetic and heartfelt music is a celebration of the culture that's so intrinsic to their city, blending bold rhythms with lyrics that hit close to home. In a city often perceived as less rhythmically charged than the coastal regions, the band defies the stereotype, delivering tracks like 'Para No Olvidar' and 'La Bella Y La Culebra' that pulse with energy and authenticity. 'Naci Mestizo', the album's title track, sees La Pambele collaborate with the seasoned Afro-Colombian folklorist Nicoyembe, adding layers of cultural depth and richness that further root the sound in Colombian heritage. The mix of piano, conga, flute, and brass on songs like 'Amargura' and 'Son Cimarron' carries a nostalgic yet forward-thinking energy, embracing the past while pushing boundaries. There's a warmth and precision in the way the orchestra weaves traditional salsa with contemporary expressions, effortlessly moving between nostalgia and modern relevance, all while telling the story of the everyday Bogotano in its boldest form.

Review: Kendrick Lamar aka. K Dot is hip-hop's all-time crown-bearer for the 2010s. Last time we checked, the same was true for the 2020s too. Bridging both decades came To Pimp A Butterfly, which saw mammoth success upon its 2015 release. Though perhaps prematurely slapped with the "classic" label all too soon (and though this wasn't wrong), one good index of an all-time great album is the prevalence of affectionate initialisms among diehard fans: in no time at all, it became known as "TPAB". The Compton rapper had had a firm social conscience ever since the release of Section 80 and Good Kid, Mad City, and TPAB would continue to restitute the many racial and consumeristic ills of American society; unforgettably, a White House mutiny is depicted on the original front cover. Songs like 'I', 'Sing For Me, I'm Dying Of Thirst', 'King Kunta' and 'Institutionalized' revolutionised rap through every motif from G-funk bounce to freeform jazz. Now, after a recent Super Bowl Halftime Show backed by vexingly ironic American flags and pyrotechnics, we hear a newly emerged butterfly: Kendrick's meliorative flows and butterfly-effect cogitations resound with the utmost clarity on this grey UMR edition.

Review: Celebrating the tentth anniversary of a release that redefined the possibilities of hip-hop both as music and message, UMR share a brand new edition of Kendrick Lamar's To Pimp A Butterfly. Though a tanked camo butterfly now takes centre stage on the front cover, the tracklist remains unchanged; an unusual move for anniversary editions indeed, though perhaps the observation should be made that the sheer stylistic variety Kendrick offered us back in 2015 should keep us grateful well into the 21st Century. Besides, who'd want to tamper with the tracklist of a 10/10 record? They sure know how to keep the purists happy. From the explosive urgency of 'The Blacker the Berry' to the introspective poetry of 'u' and the cultural rallying cry of 'Alright', Lamar's vision remains as urgent and layered as ever.

Review: Wewantsounds continues its deep dive into Algerian music with the first-ever reissue of Les Abranis' sought-after-by-those-who-know 1983 long player, Album No. 1. Originally recorded in Paris and privately pressed in small quantities, the album, which is also known as Id Ed Was, fuses Kabyle rhythms with funk and touches of reggae. This reissue has been curated by Cheb Gero (of recent Sweet Rebels compiling fame) and features remastered audio, though it retains the original artwork. It's a great line document of Algeria's diasporic groove with a two-page insert featuring fresh liner notes by journalist Rabah Mezouane.

Review: Dominique Baumard's 2025 detective comedy drama, Les Regles de l'art, is a chuckle-inducing exploration of art theft and scandal, reenacting a legendary pilfering of paintings from the Musee d'Art Moderne in Paris in 2010. The plot centres on the trio of thieves who stole €100 million worth of works of art by Picasso, Matisse and Modigliani; they were sentenced to prison, but the paintings were never found. Now the OST by soundtrack artists Lionel LimiNana (more known for his chanson-adjacent project The LimiNanas) and David Menke (more associated with experimental electronica) surfaces. An intermixing of suspenseful legato syntheses and humoured pizzicati help them nail an eternal artistic conundrum - the tradeoff between authenticity of artifice.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Genre-defying trio Little Barrie & Malcolm Catto - their bassist Lewis Wharton is the third one, if you're wondering - have created an album brimming with explosive energy and diverse influences fusing rock 'n roll, deep funk, jazz, and fuzzy atmospherics. Barrie Cadogan (guitar/vocals) has played with everyone from The The to Primal Scream, but this LP moves well away from indie templates, employing a freeform approach, experimenting with tempos, volumes and textures. Tracks like 'Spektator' and 'Sick 8' showcase their ability to build subtle momentum and then let it slip back, allowing space for intricate instrumentation and lots of vivid expression.

Review: Coinciding with the "post-psych, pre-shoegaze" ingenues Loop's retrospective album, Twelves, on triple LP, this new CD version from Reactor offers a digital alternative for those proto-gaze indie heads seeking a clearer and cleaner sonic experience. Spanning the band's output in chronological order, this comprehensive set captures the evolution of Loop's hypnotic, fuzz-drenched sound, from the early '16 Dreams' demo and debut single, through 'Spinning', 'Collision', 'Black Sun' and 'Arclite', to rare contributions to Nick Drake and Neil Young tribute albums, and even a Godflesh cover from their Clawfist split. As it is with the vinyl version, The World In Your Eyes is a completist deep dive into Loop's essential non-album material.

Review: The "guitar loop" is not just a staple of modern indie and psychedelic music. It is also an access point to a timeless human necessity: the combo of dexterity and repetition. Without repeatedly using our hands to press notes and catenate chains, we would be nothing but fumbly savages. Loop knew this remarkably well, manually twisting a tight coil around the South London music scene in the late 1970s. This was at the height of the motorik rock scene, which was otherwise largely going on thousands of miles away in Germany: as critics enthused at the time, Loop were the sound of Suicide jamming with the Stooges aboard a spaceship built by Hawkwind and piloted by Can. Described by Reactor as "post-psych, pre-shoegaze" figureheads, 'Twelves' is a priceless rediscovery for electronic rock heads across the (fret, mother)board: compiling across a span of five years, '16 Dreams' and 'Spinning' originate from 1986, while 'Collision' marks their Chapter 22 phase from 1988, and 'Primsma Uber Europa 12' closes the loop in 1991. An early case of sonic cybernetic feedback; viscerally loud, intensive circulations of sound.