Back catalogue: All genres

Review: Esuoh Limited's third outing takes the form of another various artists offering, and it explores an on-point mix of garage, house and tech. Ale Castro gets things underway with the bubbly bass motifs and retro stabs of 'IDWTAD' with a vocal refrain repeating the line 'I don't want to talk about drugs'. Hurlee's 'Spectral Echoes' is a super breezy house cruiser with sugar chords and more widescreen smears adding the oil to the drums while a simple, effective vocal hook brings the soul. There is a darker, more heads down energy to Housewife's 'Jus A Lil Bit' then Midas Field's 'Groover' brings class, jazzy magic and plenty of fist pumping fun.

Review: Chicago's Tied label rolls out a 17th release as good as all the previous ones, this time with a four-track various artists EP that showcases emerging talents from deep, spacey electronic realms. Just_Me's 'Laser Brane' launches the journey with electro-funk propulsion, while Lumieux's 'In Your Space... It's Me In Space' drifts into cosmic grooves and ambient textures. On the B-side, Constratti's meticulously crafted 'Bind' delivers intricate synth delays and solid rhythms that capture the feeling of interstellar motion. Label head Max Jacobson and 97 Till close with 'Orion,' a break-infused and celestial house cut built for late-night floors.

Review: If you're reading this you will probably already know that this Cruise Music series has been full of gold over the previous instalments. Whoever is in charge for curation has pulled it off again with four more funky and disco infused house gems. Keller's opener is a classy mix of filtered vocals and drum loops with an aching soul edge. Mark Funk offers a more party starting disco bumper with classic vocal hooks and Danny Cruz takes things onto a summer terrace with glorious horns and uplifting grooves. Makito shuts down with the dusty deep house shuffles and party atmospheres of 'Jackin With Millie.'

Review: Burnski's agenda-setting garage label Instinct is back with killer new beats from Mance. 'Atmos101' gets things underway with sparking melodies zipping about the stereo field over chunky drums and with a filthy bassline. There is more of a throwback feel to the dusty drum loops of 'Stone Cold, Baby' complete with great vocal samples and spiralling pads. 'All Night' shows another look again with dry, stripped-back beats and big hits under warped synth stabs and more brain-melting bass. 'I Can't Help It' shuts down with silky pads work and soulful vocals.

Review: The Instinct train rolls on with more of its signature and explosive garage goodness. Label head Burnski invites Mattik to take charge of this one and he comes good from the off. 'Bubble' has an impossibly naughty low-end oscillation, watery bass sounds and crispy 2-step percussion all designed to get top lips curled and floors bumping. 'Systemattik' is another smart garage workout with ragga vocals, snappy drum programming and warped synth stabs. 'Active' keeps things bumping with a retro UKG flavour and 'Megatone Saxon (Manchester Massive)' (feat TG) shuts down with irresistible rhythms and old school synth motifs as well as some rudeboy bars. Perfect.

Review: Italian producer Mennie lands on EYA Records here with an EP that hits plenty of contemporary touchstones: techno, retro synths, trance and faster rhythms. 'We Are Not The Plan' has a tech house edge but with cosmic pads and bright melodies, while 'Make It Easy' has playful top lines and a fizzing, textural synth bassline powered by crisp kicks. 'Engine' gets more physical with faster drums and snappy percussive layers, and 'The Story' grinds it out with mechanical stiffness and bleeping synth sequences that bring a retro-future flair. It's all perfectly colourful body music for knowing clubs.

Review: Ninja Records looks to build on the success of its first outing with a new outing from Miroloja who are brothers and key players in the Parisian underground with great credits already to their name on Berg Audio, Tzinah Records and OLO RECORDS. Their stripped-back but tight sound is laid bare on opener 'Linkblow' with its warm house kicks and wet clicks soon to make you move. 'Morgan' is speedier with some space-tech vibes and a snappier low-end. Closer 'Krazyteora' then explores a creepy late-night urban landscape with some cyclical drums and synths moving things onwards.

Review: The third in Exitus Records' lightyear spanning V/A series, we again hear six new, boundary-pushing new ones from six satellite artists of the present day Berlin techno scene. Opening chord cascade 'Figure Eight' by Pink Concrete contrasts sharply to tunnelling techno-body suite 'The Dream Of Motion' by Krow, signalling several more tuff propulsions to come: most notably Sayid K's 'No Lights', a balmy nightscape from the newcomer, where digital zaps initially double up as hi-hats.

Review: Unatoned (stylized as UNATONED) serves as the 11th full-length from Oakland, California groove metal titans Machine Head and marks their first effort to feature drummer Matt Alston and lead guitarist Reece Scruggs (with the latter replacing Decapitated axeman Wac?aw Kie?tyka aka Vogg who worked with the band on 2022's Of Kingdom & Crown). First announced through lead single 'These Scars Won't Define Us'; a self-described "Wu Tang Clan-level thrash collaboration" featuring guest vocals from members of In Flames, Lacuna Coil and Unearth, who will all support the band across their 2025 North American tour in support of the project, the addition of secondary single 'Unbound' showcases mastermind Rob Flynn's knack for marrying venomous heft to anthemic structures, whilst the air of brevity compared to some of their previously far lengthier compositions is indicative of a much more instantaneous sonic delivery (or gut-punch) this time around.

Review: Carpet of Fallen Leaves serves as the luminous introduction to Eddie Marcon, a folk-pop project from Eddie Corman and Jules Marcon. The collection takes in more than two decades of intimate, self-released recordings that all bring fragile beauty and melodic grace from Japan's underground psych-folk scene. Gentle guitar, soft organ and deft bass interlace with pristine vibraphone, flute and pedal steel sounds to form sparse and spare yet intricate arrangements. Collaborators like Ikuro Takahashi and Shintaro Sakamoto add their own contributions, and so songs shimmer with a real emotional depth and Eastern charm. Highlights like 'Tora To Lion' and 'Shoujo' inspire quiet wonder while capturing fleeting moments of everyday life with a real tenderness and elegance.

Review: This electrifying 1973 live broadcast captures Bob Marley & The Wailers during their US tour supporting the Burnin' album. Originally aired on KSAN-FM, the set showcases the legendary lineup of Bob Marley, Peter Tosh, Aston "Familyman" Barrett, Carlton Barrett, Earl "Wire" Lindo and Joe Higgs, all of whom were at the peak of their powers. The album takes in standout cuts from Burnin', including unforgettable contributions from Tosh and the performance follows their short-lived stint touring with Sly & The Family Stone. It's an unfiltered, visceral document of reggae history in the making that reflects the Wailers' seismic impact just before they exploded into international stardom.

Review: Jamaican singer Clive Matthews has enjoyed a stop-start career, with relatively brief periods of activity in the 70s, 80s and early 2000s followed by a late blossoming over the last decade - a career bump provided by the backing of Spanish roots reggae outfit A-Lone Productions. They're at the controls again on Matthews' second album, Going Home, which marks the Trenchtown-born artist's first full length for seven years. Rooted in his love of roots reggae albums of the 1970s, but with occasional updated instrumentation, it's a classic-sounding set that provides a perfect platform for Matthews' conscious lyrics and honeyed, effortlessly soulful voice. The results are undeniably impressive, with our current favourites including 'Yes I Do', 'Ancient Lion', dancefloor-ready title track 'Going Home' and the pleasingly jaunty 'Reggae Music'.

Review: 1997's Slow Traffic to the Right found Bennie Maupin navigating between cerebral jazz and deep funk with style and ease. Though generally known for his abstract leanings and serious musical demeanour, here he showed a lighter side - not least because he is actually smiling on the album cover - while diving into grooves shaped by his time with Herbie Hancock's Headhunters. With help from rhythm masters like Mike Clark and Paul Jackson, Maupin swaps out ECM austerity for signature Oakland bounce, so tracks like 'It Remains to Be Seen' and 'You Know the Deal' excel with newfound swagger without abandoning his jazz roots. It's a compelling pivot into accessible, funky and smart jazz soul.

Review: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.

Review: Welsh noise-rock royalty Mclusky make their decrepit return on their majorly anticipated fourth album The World Is Still Here & So Are We, marking their first full-length in over two decades, following on from 2004's The Difference Between Me & You Is That I'm Not On Fire. While the Cardiff legends have reformed for brief reunion runs in the past, this time they seriously mean it, revealing their first taste of new material in 19 years through their 2023 EP Unpopular Parts Of A Pig, with the title-track and 'The Digger You Deep' both announced to be featured on their (at the time) as-of-yet unannounced comeback record. Arriving courtesy of Ipecac Recordings, the outsider-rock label ran by vocal absurdist Mike Patton (Faith No More, Tomahawk, Mr. Bungle) and working in the past with the late, great Steve Albini, with the band even supporting for Shellac one fateful night in London's Scala, the chaotic noise-merchants haven't lost one tooth of their bite or snarky cynicism during their long respite, made abundantly clear on blistering lead single 'Way Of The Exploding Dickhead'.

Review: Veteran Wackie's artist and reggae don Coozie Mellers returns with a fresh ten-track long player that bridges the label's deep roots heritage with modern reggae sensibilities. It blends crisp digital rhythms with heartfelt lovers' rock and roots textures and features the standout track 'You Move', which was previously released as a 10" single in 2015. Mellers' vocals are beautifully soulful and glide over the smart dubwise arrangements and bring a mix of both warmth and grit, with jams like 'Special Friend' unfurling slowly and seductively and 'Your Love Is Dangerous' being sentimental heart swellers.

Review: This unmissable two-disc bundle nets Metallica's explosive live performances at the Seattle Center Coliseum on 29-30 August 1989, during their legendary Damaged Justice Tour. Widely regarded by fans as among of the band's finest shows, this tearout time capsule boasts a stellar setlist, including 'Seek & Destroy', 'For Whom the Bell Tolls', 'Creeping Death', 'Battery', 'Master of Puppets' and 'The Thing That Should Not Be'. Unleashed to the world like a cageful of batwinged, sledgehammer wielding demons, it came right after their fourth LP release And Justice for All, which in turn set the Damaged Justice tour in motion; these menacers will always come back to haunt us through the tube amps.

Review: Mark Millington's debut album showcases the UK saxophonist's dynamic, melody-driven jazz sounds across some well-formed new compositions. Energetic and percussive yet deeply lyrical, five original tracks range from the joyful exuberance of 'Matilda's Dance' to the tender emotion of 'Truth Be Told.' A standout reinterpretation of Becky Hill's 'Overdrive' adds a fresh twist to the mix and throughout this album, Millington is joined by a stellar ensemble including Addison Frei (piano), Jackson Potter (guitar), Yoshi Waki (bass) and Brian Karl (drums), with more guests also featuring and making this a memorable introduction to a promising new voice in jazz.

Review: An exciting, previously unreleased live recording of the iconic US jazz bassist Charles Mingus captured in Buenos Aires in June 1977. The performance features a stellar lineup with Ricky Ford on tenor sax, Jack Walrath on trumpet, Robert Neloms on piano and Dannie Richmond on drums, and now comes transferred from the original tape reels, recorded by engineer Carlos Melero, having been meticulously mastered by Matthew Lutthans at The Mastering Lab. This limited-edition triple album set is pressed on 180-gram vinyl at Le Vinylist, and comes with an elaborate booklet featuring newly commissioned liner notes and interviews with artists influenced by Mingus. Released in with the authorisation of the Charles Mingus Estate, this is an exclusive offering for Record Store Day 2025.

Review: Hard Top brings together a long-overdue collection of 1975 recordings by South African alto saxophonist Kippie Moeketsi, released here under the 1970s spelling Moketsi. Issued by As-Shams/The Sun in a gatefold double vinyl edition, the record arrives in the wake of Tete Mbambisa's African Day and marks the centenary of Moeketsi's birth. Known for his foundational role in the Jazz Epistles and his deep imprint on the evolution of South African jazz, Moeketsi remained a devoted interpreter of classic American jazz traditions even as he embraced the funk-infused direction of the 70s. Flanked by standout sidemen Sipho Gumede, Dennis Mpale, and Pat Matshikiza, the album is a clement covers set, revisiting many an r&b standard, from 70s soul and pop to contemporary township grooves. Lovingly compiled and produced by Calum MacNaughton from sessions originally overseen by the late Rashid Vally, here hear: a vital artistic dossier of a musician whose influence resonates well beyond his lifetime.

Review: Dietro il Processo is a TV investigation series directed by Franco Biancacci that was broadcast by RAI in Italy from 1978 to 1980 as part of the Storie allo Specchio series. The legendary Ennio Morricone composed the main theme and scored three episodes: L'urlo, L'ultima notte di Pier Paolo Pasolini and Il caso Montesi. Although the tracks were not initially released in any format, the soundtrack became available on CD in 2009. For Record Store Day 2025, this first-ever LP edition has been assembled and comes on white vinyl so allows a chance to revisit to these most dramatic pieces.

Review: Originally released in 1984, No Remorse would serve as a compilation album from London's homegrown metal legends Motorhead, marking the end of their time on Bronze Records. Following the departure of Brian "Robbo" Robertson and drummer Phil "Philthy Animal" Taylor after 1983's Another Perfect Day, this would spell the end of the classic trio line-up which had already been shaken by the replacement of "Fast" Eddie Clarke by Robertson following 1982's fan favourite Iron Fist. According to Lemmy, the label were unhappy with his own personnel changes, lacking confidence in a new lineup they hadn't heard themselves, while once they announced news of a greatest hits-style compilation, the gravel-throated vocalist/bassist surmised it as "readying the death knell" for the group, hence his insistence on including new material as well as compiling the tracklist. Marking the first recordings from the next era of Motorhead featuring Lemmy alongside Phil Campbell, Wurzel, and Pete Gill, the band would enter London's Britannia Row Studios for a week in May 1984 to bang out their contributions - 'Snaggletooth', 'Steal Your Face', 'Locomotive', and most notably, 'Killed by Death', while the collection boasts all of their past iterations' essential bangers up until this point such as 'Ace Of Spades', 'Overkill' and '(We Are) The Road Crew'.

Review: Dennis Mpale had become a key figure in South African jazz by the time the mid-70s swung around having already had a career spanning some pivotal moments in the genre's evolution. From leading the trumpet section in Chris McGregor's Castle Lager Big Band to co-founding the jazz fusion group Roots, Mpale was instrumental in shaping jazz and in 1977, he released Our Boys Are Doing It-his solo debut. It was produced by Rashid Vally and issued on Mercury as a bold response to global trends which embraced township bump jive and featured legends like Kippie Moketsi. We Are Busy Bodies now reissues this essential title from analogue masters so it sounds superb as a key bit of jazz history.

Review: Cabale Records is a Parisian label that has, for the last few years been exploring the minimal techno world. It now branches out with its first various artist release featuring some tasteful tune makers starting with Pheek. He brings some loose percussive energy and wonky drum funk to his opener then Mod303 layers in dreamy and immersive pad work to deft, subtle drums on 'Paris City Zoo.' Night No Tori Vs Hubble keeps it deep and dubby with the late-night introspection of 'Deja Vu' then Sten's 'Slope' is a trippy afterhours sound with tumbling synth smears and percolating dub tech beats.

Review: Deep Valley is a new collaborative work by Australian artists Seaworthy aka Cameron Webb and Matt Rosner and they came together for it during a week-long residency at Bundanon Art Museum in New South Wales. The property which was gifted to the Australian public by artists Arthur and Yvonne Boyd in the 1990s offers a unique landscape along the Shoalhaven River and is surrounded by sandstone cliffs and diverse wildlife. Drawing inspiration from Boyd's belief that "you can't own a landscape," Deep Valley combines the inspiration of that setting with environmental recordings, guitars, piano, and electronic processing all of which aim to highlight the transient nature of ecosystems and encourage you to reconnect with the sounds of nature.