Back catalogue: All genres

Review: Four new prangers from France's BOOOoo! crew, startling our ears with audio-apparitions by ghosts of the resident French sceno-system: Jamahr, Mooglee, Jucid and Odeon. 'Black Loops' and 'Flex (Booty Mix)' invade elastic terrains of bass and flicky synth, churn them back through meshes of gradated beats and rond-squelching stab notes. 'The Question Is' eliminates much of the A-side's establishing layers and overdubs, harking rubbery and slip-tastic FX design, countered by the equally sticky 'Jimbeldance'.

Review: To their credit and our benefit as fans, Oasis are smartly leaning into the spiking demand for the atmospheric and nostalgic formnat that is the 7" single and celebrate the 30th anniversary of 'Some Might Say' in doing so. It's a seminal single - their first UK number one and a track you can envision being a great set opener at their upcoming reunion shows. This version is remastered so it'll leap out of your speakers like never before. A guaranteed scorcher for any knees-up you're planning with your mates.

Review: Pounding rhythms, layered melodies and relentless energy define this high-impact techno release. Across six tracks, the sound explores raw, driving percussion, deep grooves and nods to classic Detroit and Chicago influences, creating a package built for the headstrong. Opening with 'Reborn Identity', the tone is immediately setihard-hitting tribal techno wrapped in hypnotic loops, chord stabs and a beautifully melodic undercurrent. DJ Rush takes it even further with a no-holds-barred remix, pushing the track into pure Chicago mayhem with scooping kicks and aggressive energy. 'All We Imagine As Light' follows with a deeper approach, leaning into rolling percussion and a groovier, more hypnotic flow. Flipping over, 'Broken Circle' injects raw power into the mix, designed to move crowds with its high-energy pulse. 'Instinct' shifts gears slightly, merging techno's intensity with house elements, weaving in Detroit-styled melodies and rich strings for an anthemic feel. The journey wraps with Volpe's remix of 'Instinct', stripping things back to a chord-heavy, dub-influenced sound that brings warmth and depth. Each track carries its own character, yet together they form a cohesive, floor-focused collection. Hard, deep and rhythmically relentless, this EP embraces the genre's foundational sounds.

Review: KMA60 Prozektiva's exploration of a mutant, electrified take on tech and house continues with Ocean T taking the mantle across four future-facing new cuts. The opener 'Never Enough' has steely drums that slap hard while the twisted, glistening melodies and 90s stabs bring a rave feel. 'KO' is a darker and more gritty sound with dubby low ends and vocal aspirations adding a touch of human soul. 'OBSSSD' has more old school vocals buried in a shimmering mix of synths and snappy drums and 'Been There Too Long' flips the vibe with a much more soft, rounded, warm deep house jaunt with deft vocal fragments and neon colours all making it the best of the lot.

Review: Serenity is a mental health charity label that is now back with more sonic gold, this time in the form of a reissue of Marco Bernardi aka Octogen's 'The Journeyman' from 2008 on Soma Recordings. It is an immersive, emotive sound with lush and ethereal pads and a moody bassline that keeps you locked. The B-side offers two original tracks from Bernardi 'Travelling to the Sun' is one to hypnotise floors with its hypnotic chimes and raw drums, while 'Little Tiny Crickets' delivers a fast-paced IDM twist with some killer synth work. As always, proceeds go to charity this time Papyrus UK who support youth suicide prevention and MusicSpace.

Review: Off/Grid has impressed with his ability to cook up tracks that keep the tension going throughout. He's done it before on the likes of Rotterdam's Arts collective and more than once on Planet Rhythm. This one for another Dutch label brings plenty of texture to opener 'Down The Vaults' which has a fizzy lead prying between the sturdy drums. 'The Movement' is much more bouncy - one of those cuts that gets fists pumping and smiles on faces. 'Protect Ya Deck' is precision-tooled, acid-laced peak time gear for when the whole club is on the same vibe and the strobes are flashing, and 'Never Ready For This Shit' shuts down with some pent-up funk and brilliant syncopated drum work.

Review: A great exploration of deep house that seamlessly blending classic influences with a modern, dancefloor-driven touch. Luca Olivotto is a German producer who back in 2020 opened his own label which this EP now celebrates the tenth release or the label. The title track starts off with an infectious energyiits uplifting piano chords and driving groove create a euphoric late-night atmosphere, embodying the essence of a peak-time house anthem. 'I'm (Not) With You' follows, maintaining the momentum with a strong, party-ready groove that leans into a love for classic house rhythms and vibrant melodies. Side-2 shifts into more soulful and emotive territory. 'Don't Need To Know' delivers a warm, uplifting feel, ideal for early morning sets where the energy softens but the vibes remain high. The closing track,' Givin' All My Love', is a jazzy, atmospheric piece, wrapping up the EP with deep, melodic richness sure to put a smile on your face.

Review: Motor City great Omar S is not just a don when it comes to programming drums and laying down his irresistible synth lines and heart aching melodies. He can also play a wide array of instruments, and in fact does just that here as he plays all instruments played you can hear across all three cuts of this new one on his FXHE label. Things kick off with the wonderful 'Featuring Omar S (instrumental)' and then 'Sayoungaty Nig' is a hazy, lo-fi ambient sound with occasional synth smears and a barely-there rhythm implied by the odd kick drum sound. 'Featuring Omar S' is a signature deep house joint with bristling metal hi-hats, rickety drums and edgy drones that keep you on edge as more soulful chords rise up through the mix.

Review: It has been a rather remarkable three years since Yuko dropped its first release, but finally, they are back with more. It is co-founder Emo Omar who features both solo and in collaboration with Luje from Club Pizza while two exciting new French talents Chud and Vivant also make their mark. 'Pollen' is a bright and hooky melodic electro sound then 'You & Me' gets more percussive, with old school cow bells staying busy next to all sorts of wonky synth work. 'Tomorrow's Made Of Breaks' is built on rigid funk and trippy synth bleeps and 'Zeus' shuts down with some retro-future vocoder vocals. This is a great return from a label we hope now pushes on.

Review: SIKU's various artists offerings always result in a nice and varied sound across two sides of vinyl and the sixth such drop is another one worth of attention for techno heads. Onoffon opens with 'Matter What' which rides on raw drums with slapping hits and stark synths, while Sebastian's 'Dreams Metaphors' has a ghoulish energy and dark, twisted synth menace. Rufo brings some cosmic wonder and bleeping melodic sequences to 'Mr Wonderful' and Brian Topham's 'Expressive Dimension' is a straight up tool with burrowing leads.

Review: Coorreente Belgium delivers a compelling slice of modern techno with 'Interlink', a four-track compilation that dives deep into rhythmic exploration and sci-fi atmospheres. Each cut offers a unique perspective, yet together they create an excellent and cohesive experience. Orbe's 'Jaxa' kicks things off with a spacey, melodic groove. The track's sci-fi techno aesthetic is underscored by rhythmic intricacies, creating a sense of forward momentum through the cosmos. It sets the tone with a blend of dreamlike melodies and pulsing beats. 'Refraction' by PTTRNRCRRNT follows, venturing into tribal territory with creative, off-kilter rhythms. Alien-esque warning sounds weave through the mix, adding a sense of unease and mystery that keeps listeners on edge. On Side-2, Deluka's 'Axis' plunges into subterranean techno with a deep, hypnotic vibe. Elements of trance filter through crisp production, guiding the listener on a spacey, introspective journey that feels both grounded and ethereal. Jorge Flukso's 'Synaptic' closes the EP with a nod to classic underground techno. Its dynamic, brooding build recalls the raw energy of Surgeon's warehouse bangers. The track's evolving layers and relentless drive create a late-night atmosphere perfect for dark, crowded dance floors. 'Interlink' is a well-curated snapshot of techno's diverse spectrum, balancing the cerebral and the physical with finesse. If you are one that thinks techno has been over-saturated the last decade and that there is no good techno coming out anymore then I would check this EP out.

Review: UK electronic innovators Orbital have been revisiting their early roots with Orbital LEDs, a limited-edition series remastering their old greats. Now fully remastered and paired with striking new artwork by Julian House, the latest drop highlights the duo's groundbreaking early sound when tracks like 'Midnight' innovated with a blend of hypnotic house rhythms and minimalist influences from Philip Glass and Wim Mertens. Also included here is 'Choice' which stands out for its anarcho-punk edge and bold vocal sampling. Paul Hartnoll has often said he aimed to inject house music with a sense of rebellion and social commentary and these reissues reaffirm Orbital's ability to do that while pushing boundaries from the start.

Review: Since its relaunch in 2017, Deep Jungle has been killing it by serving up previously unreleased tunes from the 90's next to represses of select rarities and new tunes in the vibe of the classic 93-96 era. Here we have Orca ensuring we all have a whale of a time (hey, hey) while lost in the precision-tooled breaks and snares, hits and lunging basslines of 'What Kind Of World.' 'Camyx' is a more trippy sound with liquid synths shimmering and raga vocals during the beatdown. 'Echoes' is a driving and physical workout with high seed loops and minimal pads.

Review: Ophan, formatively a festival hosting talents the likes of Onur Ozer, Hicham, and P.O in Cyprus, now branches out into deeper and increasingly original sonic territory with the launch of its own label. They kick off with a four-track EP from Turin's Otis, who joins a new throng of V/A releasers alongside Innershades, Derek Carr, Munir Nadir, Lvca, and Dawl. Synthology, the debut release under Ophan's label (Oph001), recaptures Otis' ability to finely balance peak times and rolling intervals, with 'Techno Rock'n'roll' in particular marking an especially perfuse detour through high school hair metal synths set against cosmic riser stabs. The release also introduces Lithos, a new subseries.

Review: Originally released in 1972, these are the only known recordings from Tulsa soul band Outback. The A-side is an eclectic, psychedelic funk ballad with lyrics drawn from religious scripture and drawing powerful parallels to Black slavery in the U.S. They lend a deeply spiritual and socially conscious edge to the track which is potent in groove as it is message. The B-side, 'Reggie's Thang,' takes a different turn and is a raw, psychedelic instrumental showcasing the band's musical range and experimental edge. Together, these are a time machine back to powerful moments in soul and funk history, now rediscovered and sure to be appreciated all over again.

Review: If you know, you know, and what you will know is that o.utlier is something of a legendary Irish producer. He sets out to melt minds with this new one on Animalia down in Australia. 'Evaporation' is a leftfield concoction with wispy synths that bring static electric feels to moody, stripped back and supple rhythms topped with sci-fi motifs. 'Crop Rotation' is a reverb-rich dub and 'Ionic' is another stripped-back and intriguing sound with shifting synth lines and only the most minimal drums. 'Pulse' is an icy and dubby closer for the heady back rooms.

Review: Mr Banger keeps it tight and future-facing with this new offering from Oward. The opener is the title cut and it's a non-stop sound with bumping drums and bobbling rubbery bass topped with yelping vocals and scattered percussion that makes it super lively. There's a jazzy twist to 'Jardin Secret ' with its sunny strings but the busted bass and relentlessness of the dry, crisp tech drums make it a peak time bomb. On 'La Fete Du Tunnel' things get even quicker with more metallic drums and hits, bulbous bass and a speed tech house sound sweeping you offer your feet. Last of all, 'Spirit De La Fore' is a deeper cut with well-swung drums and fist-pumping energy.

Review: Lost Verses founder Oxygeno is back with more signature hypnotic, raw techno that, rather uniquely, comes with a bold critique of the modern day Church's values. The A-side opens with 'Soul Absorption', a deeply atmospheric track driven by heavy low-end and absorbing synths. 'Haunted' follows and only intensifies the darkness with eerie synth sequences and a gripping bassline. On the B-side, 'Infectious' introduces a modulated synth line that feels consuming, while 'The Weight of Guilt' closes with thunderous percussion and a crushing bassline. Designed for the dancefloor, 'Pure Devotion' compels both movement and reflection and grabs you firmly into his winding narrative.

Review: When love drives us wild - perhaps one too many cocoons in our stomachs have hatched as butterflies, leading to an over-excitation of winged beats - a paradoxical sense of undomesticated entrapment may follow. Whether or not our love is acted upon or returned, the fear is that the feeling will never go away, that we have been irreversibly rewilded, and that the mere mention of the person wall never fail to stir us. Kilque nailed the flooding feeling with 'I Can't Shake This Feeling' in 1982, where the motivic repetition of the chorus line "...must be love" added extra poignancy to the word "burden" to describe a song's hook. Now UK production talents U Key and Omar wax the tune extra weightily, lighting a cogno-scented candle of full-boded electro disco, eliciting strange, fatuous sensations in proximate suitors. The track boasts a full live brass and string sections, uniting Japanese and Bostonian talents; it also features Curtis Williams of Kool & The Gang on alto, while Oberheim and Moog add a modern electronic spice. Young Pulse's remix marks a sensorial broken-beat easer-upper on the B, with its foolhardy breakdowns and Rhodesy downturns.

Review: Premade heavyweight Obscure Shape and classically trained musician Conrad team up; Berg Audio proudly welcome them as a new duo addition to their roster, together under the name Urban CC. Throwing back to real-deal minimal-ambient techno of a steezy kind, something between Maurizio, Move D and Ghost, 'Pegasus' and 'Marly' cycle through fluttering dub techno and 1-2-step garage respectively, the latter bringing an eyebrow raising combo of yearnsome garge vocal science and pulsewidth techno shots, post-drop. 'Hadban' sneaks a cheeky drum & bass bullet train onto an otherwise techno-centric platform, marking Sleepnet-style vocal etherics and sold-on-us liquid. 'Shagya' finally restricts the mix, with a dubtech-house full of beeping, filtered vocal shouts; a Strictly Rhythm-meets-Chain Reaction contraction.

Review: In the right circles,, Martin O'Donnell and Michael Savatori are living legends. Working with the iconic US video game company Bungie Inc, the pair put their names on the map - or maybe maps? - by creating soundtracks to a number of high profile titles, either as a duo or individually. O'Donnell is arguably the better known, or at least has the bigger online persona, but both composers deserve plenty of credit. Halo: Combat Evolved was the first title in what is now a huge and genre-defining first person shooter franchise, and the score reflects the emergence of video game music as an integral part of the on-screen action. O'Donnell and Savatori's efforts to ensure instrumentation dramatically changed with events in the game, which is by nature relatively non-linear, was a revelation. While their efforts to separate these into individual suites foresaw the rise of playable stories as films in their own right.

Review: It's been a long time since Halo: Combat Evolved revolutionised the word of first-person shooter video games. Graphically superior to anything that had come before it, the franchise also benefits from a spectacularly gripping storyline in which humans are outgunned and out-teched by a ruthless and uncompromising alliance of superiorly equipped alien races united as The Covenant. The titular Halo adds a kind of Prometheus air of uncertainty, as nobody really knows what it does until attempts to activate the galaxy-destroying weapon reveal something worse than death - a parasitic breed called the Flood. If all that was enough to blow everyone away in 2001, 2004 brought us to a whole new level of immersion in this future scape. Just like its predecessor, a big part of the impact was the visionary score by gaming soundtrack masters Martin O'Donnell and Michael Savatori. Now here it is in all its Gregorian chanting glory.

Review: The full 83 track suite from the original Halo trilogy of video games is here, bringing you an exemplary score befitting of one of the most acclaimed Arcadian future combat shooter game series in the world. Now you can figuratively "don" your very own sonic Spartan supersoldier suit, as the game's trademark musical motifs - mystical Gregorian choral chants, missionary orchestral movements, gloried verging-on-prog upswells and downturns - are laid in pristine electronica-augmented fashion, by composers Martin O'Donnell, Michael Salvatori and C Paul Johnson. The midpoint of the record marks a highlight, where the Halo 2 soundtrack heard a long list of A-list musician collaborators, marking a heavy metal and nu-metal sojourn.

Review: Laced Records and Halo Studios partner up to bring the epic soundtracks of the original Halo trilogy to vinyl for the first time, remastering and revamping 83 original scores from Halo: Combat Evolved, Halo 2, and Halo 3. the music that defined a franchise is thus ethered in perpetuity. Weaving orchestral elements, prog rock, drum corps marches, and heavy metal, Halo presents a perfect bottling of angst and militancy; owing to its popularity with a certain teen gamer cohort, Halo 2's score especially made history as the first video game OST to chart on the Billboard 200. Now, each soundtrack is presented in its own sleeve with custom artwork, and comes in a collector's box adorned with a debossed Halo logo and silver laminate finish.

Review: Oklou is a French musician and is known to her parents as Marylou Mayniel. She dropped her debut album back in February and on it collaborates with artists such as Bladee and underscores, while some expert studio contributions from producers like the revered A.G. Cook, plus Danny L Harle and Casey MQ. Choke Enough blends Y2K influences with medieval melodies to reflect Oklou's evolution from her 2020 mixtape, Galore. This new long player offers up a deep dive into her meticulous approach to electronic, modern, 'hyper' pop while incorporating classical rigour. Standout tracks like the title track and 'Endless' are great reflections of her unique artistic vision while balancing formal complexity with subdued emotional impact.

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


Orchestral Manoeuvres in the Dark (OMD) and their 2017 future classic The Punishment of Luxury, is an album that brilliantly merges biting social commentary with the band's signature synth-driven sound. Now available on blue vinyl, this release not only delivers sonically but also visually, with its vibrant cover art reflecting the album's thematic depth. From the opening title track, OMD sets the tone with an unapologetic critique of consumer culture, driven by Andy McCluskey's impassioned vocals and sharp lyrics. The band's ability to craft music that feels timeless yet relevant is on full display, blending modern production with the nostalgic essence of their '80s work. Tracks like 'What Have We Done' capture the disillusionment of the current era while offering a plea for a better future. Despite the absence of original drummer Malcolm Holmes, the album remains powerful, with Stuart Kershaw stepping in seamlessly and the deluxe edition's packaging, with its striking design and included lyrics booklet, further enhances the experience.

Review: For the first time on vinyl, through Karl Records, comes a limited edition and furtive Yoko Ono retrospective, in conjunction with the over-100-strong, Sweden-headquartered ensemble and community network The Great Learning Orchestra. These unlikely recordings were made at the time of the musician and performance artist Ono's 1964 multimedia collection Grapefruit, a cornerstone of what would later become known as "conceptual art". Grapefruit itself is a large artist's book, with a large vellum spine and browned parchment paper; it contains a series of "event scores" that outline, rather than permit the performances of, many different performance art pieces. The effect is apocryphal and ominous, as though the real performance of these instructive works may have accursed or deleterious effects. "Like a musical score, Event Scores can be realized by artists other than the original creator and are open to variation and interpretation"; and yet, Ono's book is a one of one, having never been reproduced or thus made collectable. Pre-dating John Cage by about a decade, the "event scores" described therein have now been performed by The Great Learning Orchestra, where hardly any of the performances / pieces have ever been captured sonically or laid to disc. This record changes all that, realising Ono's bewildering text instructions as tremulous suites, made up of clattering material hits and harrowing string instrumental assaults.

Review: Originally founded in 1982, Bristol thrash metal legends Onslaught are considered to be one of the UK's so-called "big four" along with Xentrix, Sabbat and Acid Reign, while their sophomore effort The Force from 1986 is often regarded as a worldwide, stone cold thrash classic. Originally inspired by frenetic hardcore punk acts such as The Exploited and Discharge, the band would eventually adopt a hardcore-shaped speed metal assault that would be perfected following the arrival of vocalist Sy Keeler, allowing Paul Mahoney who provided vocals on their 1985 debut Power From Hell to switch to bass duties. Keeler would depart following issues with the label regarding his performance on the band's follow up third record In Search Of Sanity, released in 1989, yet he would make a triumphant return with the rest of the members for the dawn of their new era on 2007's Killing Spree.

Review: Osunlade's latest release continues his transformative journey, evolving from a major-label ghostwriter to one of deep house's most spiritually attuned and culturally conscious figures. His Yoruba Records imprint has long been a conduit for globally infused, soul-drenched house music, but here he turns inward, stripping things back to something more meditative while maintaining his signature warmth. 'Wiggle Room' opens with rhythmic vocals, strings and congas that gently invite movement. The pace slows in 'PASS!!,' building a quiet tension, before 'Hang Nail' introduces Middle Eastern-inspired melodies and sharp, punchy beats. 'Luv' offers a burst of warmth with lush chords and smooth vocals, capturing the essence of that classic deep sound. In 'She Represents,' heavy 303 basslines pay tribute to Shirley Chisholm, intertwining excerpts from her iconic speech with commanding rhythms. 'So Long...Stranger' reflects on the isolation of the pandemic, a quiet moment of introspection, before 'Modular Movements' closes the collection with an emotionally charged resolution. This set offers a journey that balances movement and stillness, reflecting Osunlade's own pathideep, unhurried and reverent, like the house music he's crafted throughout his career.