Back catalogue: All genres

Review: This is a four-track sampler taken from parts one and two of the One Hundred and Fifty Steps VEP series which is all about exploring the rise of 150 bpm dubstep, a sound that characterised by fast basslines, broken rhythms and heavy halftime pulses. From VEP pt. 1, L.A.'s Carre delivers pacey wobblers and then Berlin's Formella debuts with playful breaks and more wobbly bass on 'Dripstep'. VEP pt. 2 features Leipzig's Old Man Crane with their intricate, syncopated style shinning through on 'Grey' and Valencia's Andrae Durden then shows class with a Kryptic Minds-inspired low-end powerhouse.

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: It's a nearest and dearest thing; Polish craftsman Offish calls up his pals from around Europe for this epic collaborative free-for-all. Taken from the full digital album that comprises 13 bleeding edge slabs of timeless brutalism, this vinyl sampler highlights its extremes with these four powerful cuts. 'Eviscerate' (with Forgiven Soul) nods to the Quarantine sound with strong elements of Digital and Spirit (RIP) while 'Mushrooms' (with Greg Lvov) is an immense and hypnotic weave of percussive elements. Elsewhere the ominous dubbed out minimalism of 'Look For Patterns' (with NonRev) set us up for the disarming depths and cosmic charm of 'Cautionary Tale', making this this is an exceptional trip for DJs, dancefloors and listeners alike.

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: Heady house label Courtesy Of Balance only releases music that you know will stand the test of time. It's informed by the classic schools of deepness but always with a modern touch and unique character, and next to carry that torch is Ostrich aka Nadir Agha. He's in charge of curation at Montreal's legendary Stereo Club and shows his class here with opener 'Snake Charmer' which is built on a dynamic groove foundation and embellished with wispy pads that take your mind on a wander. 'Promiscuous' is heavy, dubby house stripped back to the core essentials and perfectly executed. 'Buttered Up' is a little more mobile but embellished with nothing chords and smoky vocal soul and 'Broken Science' closes with a brilliant broken beat flourish that is full of jazzy invention.

Review: London-based New Zealander Arjuna Oakes impresses hugely with this debut album, a contemporary soul and jazz fusion, global folk, electronica and post-rock motifs all woven in. Like any good LP, While I'm Distracted is a deeply personal journey exploring common themes of vulnerability, identity and hope in a world shaped by ever-more existential angst and social media stress. We're told that Arjuna approached this full-length album like a filmmaker crafting a feature and aiming to evoke emotion over concept. Performing vocals, piano, synths and arranging strings himself, he also leads a talented ensemble of collaborators who help him on this emotional odyssey.

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: Calling the curtain on Field Records' Waterworks trilogy, Yui Onodera turns his ear to confluences of hydrology and history, dedicating his latest record to Japan's Kiso Three Rivers and their transformation by 19th-century Dutch engineering. The Kiso, Nagara and Ibi rivers, once prone to catastrophic flooding, were reshaped under the guidance of Johannes de Rijke, whose work helped protect Nagoya from seasonal deluge by 1912. Onodera, known for his nuanced sound architecture, approaches this subject with a finely honed ear for subtlety, layering quiet field recordings with fuller instrumentation, evoking the widening of a river from brook to strait. The A-side's bell tones provide a sensory-meridian intimacy, processed alongside guitar, and ethereal pads; while the B-side's contradictorily colossal quietude makes itself across two long-form studies, which drift through sampled water and restrained electronics.

Review: Originally released in 2005 and celebrating its 20th anniversary, Ghost Reveries would serve as the eighth full-length from Swedish progressive metal legends Opeth. Following the 2002/2003 two-part project which showcased their most malevolent form on Deliverance and then a resolutely pleasant prog rock opus with Damnation, this follow up sought to rectify one side with the other; coalescing into a masterwork which simultaneously was regarded by longtime fans as a career height, whilst the expanded distribution from signing with major label Roadrunner opened them up to an entire new wave of unsuspecting ears. Marking their first album since 1999's Still Life to not be produced by Porcupine Tree's Steve Wilson, instead duties fell to Jens Bogren (Katatonia, At The Gates, Dimmu Borgir) who helped Mikael Akerfeldt and his cohorts to rediscover their death metal origins yet channelled through their more melancholic sensibilities. Boasting some of their most vital pieces from the epic 10-minute opener 'Ghost Of Perdition', to the even lengthier fan favourite 'Reverie/Harlequin Forest', as well as the equally adored 'The Grand Conjuration', the album has long since been held aloft as the perfect modern entry point to the world of Opeth. The project would also be the first to include keyboardist Per Wiberg as a "permanent" member while serving as their final endeavour to feature both drummer Martin Lopez and long-time guitarist Peter Lindgren.