Back catalogue: All genres

Review: Immanuel 'Immy' Kwabena Dreessens-Owusu is based in Torquay but is of Ghanaian-Dutch heritage. His musical upbringing straddled the worlds of rock'n'roll and the West African culture of his roots. His grandfather is a legendary musician, Koo Nim, and this debut album was recorded with his father Kojo Noah Owusu and Ghanaian drummer Julius Sackey. Across nine glorious cuts he mixes highlife and Afro rhythms, Afro rock and psychedelic sounds with spiritual vocals into an energising and cathartic brew that is steeped in classic and authentic styles but with plenty of modern perpsective.

Review: San-Fran experimental rockers Oxbow dedicated their eighth album Love's Holiday to familial renewals, marking the point at which guitarist Niko Wenner's two children were born shortly after his father's death. Despite the immediate inspirations, the album also cycles through many of the more all-encompassing kinds of live humans may encounter, from romantic to tragic. We hear the band segue through gargantuan plains of looping guitar and reverb-drenched vocals from lead vocalist Dan Adams; ostensibly, it sounds closer to an exploration of grief than commonly received ideas of "love", although relatively few pop-cultural ideas of love keep it real enough to reflect the strife that comes with it.

Review: This is Oye Manny's second album and it is a fine progression from his first across six tracks that blend classic Salon-style house with the producer's own unique rhythm-forward sensibilities. His personal Houston roots and a wider sphere of timeless deep house influences all feature in dynamic and percussive tunes that are built on propulsive beats and rich textures. Congas, bells and timbales weave seamlessly into four-to-the-floor rhythms as each track reflects Manny's skill as a producer and composer. This one hits a perfect sweet spot between classic and contemporary and is sure to sound good all year long.

Review: This collaboration album La Comitiva on Bubbles marks a unique partnership between Erlend Oye and the Italian band La Comitiva. Blending indie pop, folk, and electronic elements, it delivers a fresh and innovative sound and new take on pop. Erlend Oye's soulful vocals and reflective lyrics are enriched by La Comitiva's rich instrumentation to create an immersive journey through diverse musical influences and inspirations. From the catchy rhythms of 'Garota' to the dreamy ambiance of 'Fence Me In,' each track offers distinct melodies and storytelling that stay with you. There are emotive vocals and dynamic instrumentation throughout as well as some genre-defying sounds all of which will captivate fans old and new.

Review: Ambient music is all about immersion and you'll be hard-pressed to find anything more immersive than this. New York and Iceland-based composer Masaya Ozaki was born in Niigata, Japan and focuses on "the idea of space as a transient entity," which means his work is imbued with astonishing subtlety and beautifully quiet artistry that really draws you and rewards close attention. Mizukara is his fourth such outing and one that melds field recordings, electro-acoustic sounds and lush synth textures into something that is melancholic and utterly absorbing from front to back. Says the artist, ''this album is a reflection of my current life in Iceland. Where does the self begin and where does it end?' Tune in to find out.

Review: Drummer Berke Can Ozcan and baritone saxophonist Jonah Parzen-Johnson present an album that stretches the boundaries of modern jazz. The compositions blend acoustic percussion with saxophone melodies, enriched by subtle electronic elements that create a lush, atmospheric backdrop. Tracks like 'Portrait of a Brick' and 'A Cloud' reveal the duo's improvisational skill, weaving intricate rhythms and melodies that seem to constantly evolve. There's a rawness and depth to the music that pulls you in, while 'Sao Paulo' offers a refreshing, energetic shift in mood. The album's blend of world influences with jazz tradition ensures it's both adventurous and captivating.

Review: A key component in modern Turkish music since the '70s, Mustafa would have gone under the radar if it wasn't for break diggers. While he's still active to this day, Genclik Lle Elle is largely cited as his creative zenith. Recorded in Istanbul, 1973, the instrumental album takes the funk template and flings it into experimental, often cosmic pastures. Highlights include the planet-hopping glissandos on "Zeytinyagli", the progressive head-swirling frenzy of "Lorke" and the infectious eastern-fused riff on "Emmioglu". Plus it's on coloured vinyl. Plus it's got a monkey sound engineer on the cover. Plus it's limited. This record has a hell of a lot going for it.

Review: With roots in 1983's Stonehenge Free Festival, when brothers Ed and Roly Wynne joined forces with drummer Nick 'Tig' Van Gelder, bassist Eddie Myer, and keyboardist Joie Hinton to perform a six hour improvised jam session under the guise Bolshem People, Ozric Tentacles define the progressive rock-new age-ambient crossover story. Then they go on to write their own. It would be six years before they put a record out, 1989's Pungent Effulgent, preferring instead to keep things loose, open and, ultimately, unplanned. 12 months or so later, they emerged from Foel Studios in Powys, Wales, with the follow up - Erpland. A record that feels free, born in countless moments of spontaneous creativity, careering between free party dub and mind-melting (if overblown) electric guitar solos set against juggernaut metal rhythms. A remarkable beast.

Review: .You don't need to hear much on The YumYum Tree to understand how apt the story behind Ozric Tentacles is. A troupe which formed from an impromptu six-hour jam session which took place around a campfire during the 1983 Stonehenge free festival, the band name itself came about when an audience member asked guitarist and keyboardist Ed Wynne what the group - which included his brother Roly, Nick 'Tig' Van Gelder (later of Jamiroquai note) and Joie Hinton - were called. Originally dropping from the cosmos in 2009, The YumYum Tree is archetypal stuff from the outfit in question. Complex guitar solos taking us into the stratosphere, uptempo, highly commanding, cacophonic arrangements, star-gazing, mood-setting, deeply textured space rock, and moments of pure new age bliss. A journey to musical unknowns, captained by progressive rock visionaries.

Review: In a collaboration for the ages, we hear German kosmische musician Hans-Joachim Roedelius (Cluster, Harmonia) team up with Japanese flutist Yuko Matsuzaki and Berlin Philharmonic analog musician sound engineer Onnen Bock for a nacreous improv blast. Spanning soft, pearly electronica and neoclassical, Moon Garden comprises five works, incorporating techniques and fragments of songs already released. A mythical aura unfurls through synth koto and organic harmonics; 'In The Forest Of Syrinx' establishes a singing bowled, new age aesthetic, segueing into the purely vocal threnody 'Sapphire Jellyfish'. Bridging electronic washes, piano and female vocals, this is a borderless soundscape of exciting proportions.

Review: This album offers a smooth, nostalgic journey through classic 70s soul, with a modern twist that captures the essence of that era while infusing it with contemporary flair. The standout track, 'Rollercoaster', exemplifies the soothing, sensual style of the album, with falsetto vocals that echo the best of vintage soul. 'Mulholland Drive', a collaboration with Latoya Williams, further enhances this atmosphere, blending smooth grooves with a timeless feel. While the album leans heavily on familiar Marvin Gaye-inspired moments, tracks like 'Make Me Wanna' and 'Back To Your Place' draw listeners in with their rich, soulful melodies. The music itself is both comforting and captivating, with lush arrangements and a relaxed tempo that makes it easy to get lost in the vibe. Though some may find the album too nostalgic at times, the reverence for classic soul is clear and the execution is top-notch. For those who appreciate the golden era of r&b, this album delivers a satisfying, if sometimes familiar, experience that's sure to please fans of smooth, soulful music.

Review: A stunning tribute to the golden era of Motown and soul, infused with contemporary flair, this album is the perfect homage to a legend. Drawing inspiration from Marvin Gaye, London channels the timeless essence of classic r&b while weaving his own unique artistry into the mix. The album unfolds across three thematic setsiThe Hope, The Grind and The Ascent. With gems like the sensual 'Rollercoaster', the smooth collaboration 'Mulholland Drive' with Latoya Williams and the soulful charm of 'Make Me Wanna', October London effortlessly blends vintage soul with modern sensibilities. His falsetto vocals and lush arrangements create a soothing, nostalgic atmosphere, while the album's relaxed tempo invites listeners to immerse themselves in its rich melodies. Arriving on clear vinyl, this is an emotionally resonant journey that pays tribute to the greats while embracing the present.

Review: "Dear Marvin," comments October London on this journey through themes of love, personal discovery and modern struggles, "I'm not trying to be you. That's impossible." That said, the reverence for Gaye is - obviously - evident, this heartfelt tribute to one of soul's greatest icons is given a properly contemporary feel through Snoop Dogg-mentored London's smooth falsetto and rich production. 'Make Me Wanna' and 'Back To Your Place' are rich in vintage melodies of the 60s nand 70s, pulling listeners into their warm, comforting rhythms and the album's narrative unfolds across three sets: The Hope, The Grind and The Ascent, each exploring different facets of love and personal growth. Other highlights include 'Love Me Better' and 'The Same Love' and it's not hard to see why this accomplished effort gets the stamp of approval of the mighty Dogg himself.

Review: Here comes an instrumental version of this killer record, where golden era boom-bap and modern hip-hop sounds are fused to perfection from the big dogs Tall Black Guy and Ozay Moore who team up with guests including KUMBAYA, Malaya and more on this fresh new gatefold LP. 'Viberite' is one of this pair's best collars - a smooth and celebratory track with mellow vibes and soulfully atmospheric textures. 'Make It Like This' rides a nice loose, tumbling beat with warming chords heating it up from below and seductive flows up top. 'Does Anybody Care?' is not only a great title but a string-laced, soul-enriching gem of a tune, too,

Review: Golden Era boom-bap and modern hip hop sounds are fused to perfection on this new collaborative EP from the big dogs Tall Black Guy and Ozay Moore who team up with guests including KUMBAYA, Malaya and more on this fresh new gatefold LP. 'Viberite' is one of this pair's best collars - a smooth and celebratory track with mellow vibes and soulfully atmospheric textures. 'Make It Like This' rides a nice loose, tumbling beat with warming chords heating it up from below and seductive flows up top. 'Does Anybody Care?' is not only a great title but a string-laced, soul-enriching gem of a tune, too,

Review: Ben Webster, a titan of tenor saxophone, solidified his legacy through indelible collaborations, notably in Ben Webster Meets Oscar Peterson. This album showcases Webster's affinity for Peterson, his preferred partner at the piano. Part of Verve's Acoustic Sounds Series, it features meticulously remastered analogue tape transfers on high-quality 180-gram vinyl, presented in deluxe gatefold packaging. With tunes like 'Bye Bye Blackbird' and 'How Deep Is The Ocean,' each note resonates with heartfelt emotion, capturing the intimate interplay between two legends of jazz. A definitive collection for any serious audiophile.

Review: Esteemed ambient auteurs, zake and ossa's collaborative output continues to soothe and delight in equal measure. After Syntheticopia in August 2022 and the dark long-player 'A Pale Shelter' in 2021 between zake, ossa, and City of Dawn comes Module, a collaboration that includes seasoned electronic producer Ruben A. Tamayo, under the alias FAX. The power trio brings forth an eight-track excursion into heavy ambient atmospheres with moody soundscapes and a real weight of melancholy. As always, the textures are grainy and lo-fi, the drones long-held, and the chords which poke through the clouds, bring subtle rays of hope and optimism. It is the latest and maybe the greatest chapter in this ongoing story from zake and ossa with featured collaborators.

Review: Twilight of the Gods features one of many evocative soundtracks from Hans Zimmer, Omer Benyamin and Steven Doar. Between them, they bring a sweeping cinematic scope to an epic narrative with their usual sense of masterful scoring. Zimmer and his collaborators blend orchestral intensity with atmospheric depth here to enhance the mythic tone of the story. From haunting melodies to powerful crescendos, this soundtrack captures the emotional gravity and grandeur of the gods' twilight moments and each track layers intricate instrumentation that pulls listeners into a vivid, immersive world that echoes the film's themes of fate, power and destiny.