Back catalogue: All genres

Review: Mysticisms imprint strides purposefully into 2025 via a multi-artist extravaganza that touches on many of the label's regular musical themes. To kick things off, Utopia Records main man Alex Bradley offers up his take on Elements of Life's 1996 jam 'Are You With Me Love', reimagining it as a deep and spacey roller rich in languid trumpet motifs, metronomic synth bass and intergalactic pads, before Norwegian veteran Oyvind Morken asks 'How Bleep Is Your Love' via sprightly analogue synth sounds and jacking, sweat-soaked machine drums. Over on side B, Eirwud Mudwasser and Romansoff join forces on the deep, dubby, steel pan-sampling early morning tribalism of 'Cherrie', while N-Gynn treats us to a spot of deliciously deep acid house ('Es V edra TB Deluxe').

Review: Portugal has always had its own thriving scene right back to the days of 90s rave and techno. But in recent times it seems to be having a wider cultural impact with the arrival of plenty of great artists, labels, radio stations and collectives getting proper recognition across the global underground. Just over the Tagus river from Lisbon comes this new label oDYSea from the Caparica coast, and it's headed up by Penelope. GNMR's 'Zen' kicks off with cosmic tech and snappy kicks then Pakzad's 'I Could Never Imagine' is a mid-tempo and warped tech cut with hissing hi hats and psyched out colours. Eversines's 'Randomized Controlled Trial' is taught and trippy techno then Oscillator Man's 'Turning The Mix Up A Bit' is an acid-laced sleaze-fest.

Review: Slovenia has been a hotspot of techno since the mid 90s. With its fourth release, Moving Pressure hands the reins to Slovenian producer Obscur, who delivers a sharp and distinctive EP that fits the label's ethos like a glove. His debut strikes a balance between minimalism and physical intensity, carving out a space that feels both hypnotic and visceral. 'F135' kicks off with a brooding atmosphere. Metallic percussion hisses and flexes around a pulse that feels alive, while distant vocals add a sense of alien unease. It is a dense, eerie opener with a beat that crushes forward. 'Soul Eater' follows with a deeper groove. It is rhythmically tight and subtly psychedelic, letting detail simmer below the surface rather than flash on top. On Side-B, 'Stockholm Syndrome' dials the pressure down but keeps the tension tight. Its dry rhythms and austere textures are playful in their restraint, letting negative space do the talking. 'Blasphemy' brings the heat back, adding sharp modulations and tightly coiled percussion that flirts with chaos but never loses form. A well -roduced techno EP that's a cut above the imitations.

Review: Swedish multi-instrumentalist Gustav Horneij, best known as OPE, finally lands on Jazzaggression with a new 10" release that showcases his singular approach to spiritual jazz and overdubbed improvisation. It's a new release composed entirely around bamboo flutes, but the instrumentation stretches far beyond i drums, bass, reeds, harp and subtle string textures are all played by Horneij himself, each part layered with a feel for groove and tone that's entirely unforced. Tracks like 'Instant' and 'Picante Beef' hit with warm, rolling basslines and smoky modal phrasing, while 'The Deepest Bowl' moves slower, drawing you in with flickers of flute and ambient space. 'Udon' is a clear standout, combining a floating top line with an earthy, locked-in rhythm section that could loop forever without tiring. Despite the solo setup, nothing feels precious or overcooked i the mood stays loose and tactile, like a small ensemble jamming in real time.

Review: Madrid's Oscar L and Sofia's Metodi Hristov come together for a heavyweight two-tracker that stretches the Drumcode sound between two distinct techno poles. 'Gravity' crashes in with brute-force energy: jagged hoovers, a fluttering chopped vocal, and thick industrial textures square up in a storm of distortion, like two machines locked in dissonant conversation. It's cinematic, dark, and demanding. 'Up & Down' keeps the pressure on, bursting forward with piston-fast percussion, cavernous reverbs and a flickering synth motif that teeters between menace and euphoria. A spoken male vocalistark and monotoneigrounds the track with a cold-eyed edge. Techno as terrain: Madrid's pulse meets Sofia's shadow.

Review: Image Recordings continues to establish itself in the techno world, this time with Other serving up some sounds that nod to the 90s but never get too slavish. 'By No Means' is one of those busy, jostling cuts that makes you wiggle ass, head and hips as you get lost in the looseness. 'Full Compliance' is a wonky one for the afters with bubbly bass, 'We Didn't Know' then strides on with loopy pads and cantering drums that exude a cool energy and 'It's Wicked' shuts down with more textured percussion and fractured vocals for a freaky finish.

Review: This new VA from the young Swiss label Covered compiles four forward-thinking artists pushing sonic boundaries in their own way but united by detailed sound design and refined instrumentation. Olivier Romero opens with bold, wave-driven rhythms while Luise brings intricate sequencing and crisp minimal percussion. Maik Yells follows with atmospheric depth built from lush pads and ghostly harmonies, weaving a moody narrative. OneKnock closes with a hypnotic blend of shifting rhythms and sub-heavy foundations. These tracks form a nice listen when played together and are rooted in rich texture, tone and subtle storytelling.

Review: UK soul hero Omar steps up with his ninth studio album, bringing the depth, clarity and control that have typified his uncompromising and deeply rooted musical journey. The songwriting is tight, the grooves are locked, and the arrangements leave space for the music to breathe. His voice is as expressive as ever i warm, precise, unmistakably his. There's a strong sense of shape to the album, from the clipped funk of 'Research' to the more open, reflective tone of 'There's Much Love in the World'. Strings, samples and live instrumentation all sit together naturally, with nothing overplayed or overstated. The ensemble guest appearances i India Arie, Giggs, Paul Weller, Raheem DeVaughn among them i add some masterful flourishes to an already engaging set. Always good to hear new music from the one like Omar, a man who will never be underrated by those in the know.