Back catalogue: All genres

Review: Drei Vinyl launched back in 2023 and has slowly but surely amassed a respectable catalogue of various artists' releases. This sixth outing is the most straight-up techno offering yet and it opens with one of Spain's finest in Eduardo De La Calle. 'Deva5Vyasa' is heady and otherworld loop techno perfection with synth daubs and conscious vocals peppering the rubbery kicks. DJ Shufflemaster brings more texture to the raw, percussive madness of 'Axiom' and Tensal layers up unsettling and anxious synth murmurs with rising drum tension on 'Thermal Cycler.' Pergo's 'Lume' is a brash, industrial closer full of urgency.

Review: Astonishingly, 18 years has now passed since Gilles Aiken - probably more celebrated these days for his work under the alternate Desert Sky alias - first offered up off-kilter tech-house tracks as Edward. Last year, he impressed with a wonderfully deep and unctuous EP on deep house imprint Smallville; here, he makes his bow on another must-check label, Kalahari Oyster Cult. In keeping with the imprint's love of all things trippy and otherworldly, opener 'Tentacle' sees him wrap chiming lead lines, psychedelic synth motifs, weird noises and layers of percussion to a chunky, locked-in house groove. Aiken then goes off piste via a skewed, druggy and at times dreamy tech-house remix of Trybet's 'Moodsetter'. Arguably best of all though is impossible-to-pigeonhole flip-side 'Dr Octo', which is immersive, unsettling, tactile and eccentric in equal measure.

Review: Under a full moon to commemorate Portland's official holiday on their first Dead Moon Night, Mike Lastra recorded Michael Hurley play 'Jane' live at Portland City Hall in 2017. He performed, rather wittily, this cover of Portland Oregon Dead Moon's 1991 release to the most well attended non protest event in the history of the hall. Hurley, American "outsider folk" singer-songwriter, guitarist, banjo and fiddle player, and part of the Greenwich Village folk music scene of the 1960s and 70s is not only known for his iconoclastic songs, but also his cartoons and paintings, here illustrating the single's cover. The B Side 'Go My Way' features an unreleased Range Rats track from 1986 recorded at home by Fred Cole, Toody Cole and Rolly (their Roland drum machine), covered paradoxically by Portland's own Dead Moon in 2004, giving a comforting circularity to this limited 7" on Mississippi US, a label that prides itself in supporting artists and their families when crafting ethical and respectful releases of previously overlooked music. So, if you're into the Appalatian folk troubadour tradition with an undertone of irony that has a bluesy edge, you'll love this.

Review: Nicole and Troy's latest collaboration sharpens their vision for Cath Records, the Berlin-based label they launched as a home for boundary-pushing techno. Their stripped-back but potent style thrives on precision, drawing from deep club lineage while keeping an eye on the future. 'Out Of Control' is a lean, tunnelling workout, its tension amplified by Z@p, the Uruguayan producer whose percussive, swing-heavy take on techno has earned him a cult following. His remix reshapes the track with a ghostly, skipping momentum. 'Woo Woo' flexes a rubbery, low-end groove, built for peak-time propulsion, while 'Fractals' twists through warped, off-kilter sequencing. A sharp, high-pressure release that reinforces the duo's deft touch.

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: Tape Pack aka. Nick Dobbs first set about this relatively new d&b alias after finding inspiration in the so-called "tape packs" exchanged among friends in 90s playgrounds, many of which can still be found in book and record exchanges today. After 2024's 'World Unknown' now comes 'Light Years', an EP of equal heft made up of readily tractable beats (that 'Funky Mule' break is a real highlight). 'Antares', meanwhile, does not use the OG autotune tech in it as far as we know, as it is bereft of vocals, but it is the most heavenly track. The best things in life come in small packages, and the same can certainly be said for the latest Tape Pack.

Review: After a years' hiatus, we're hit round the face with the return of Germany's Telum, as though a repressed memory had come back to haunt us. Making up chapter 13 in the Telum story, this big-hitter record compiles three unknown authorial knowns onto a bite-sized but palette-testing green label. 'Track 1' riffles away with its high-fantasy sound design, while 'Track 2' hurtles through implacable FM harmonics, and 'Track 3' mobilises the very same set of sounds for a brilliantly breathable, nocturnal knee-nudger.

Review: Tooflie's latest offering dives into the allure of French pop's vocal sensuality that weaves intricate production with global influences. The opener, 'CS VG,' anchors the release with its half-step beat that flows through grainy tonal shifts and rhythms, twisting familiar elements into something new and magnetic. Its dreamy, almost spectral feel is offset by sharper, more defined edges, creating an engaging dynamic that keeps the energy fluid yet charged. As the record progresses, 'BLORN' introduces a more laid-back groove, combining minimalist funk with a sense of melancholic soul, perfect for late-night listening. The flipside continues to surprise, with 'KRLE' and 'JUWRK' fusing breakbeat elements with soft digital textures, offering a distinct and refined energy. Tooflie expertly blends the experimental with the accessible, crafting a release that's both bold and sophisticated, ready to ignite the most discerning dancefloors.

Review: Turin's Bunkereeno Kollektiv and ITALIA90 have come together to launch their own new label Anna Records and it debuts with a split EP from Tools 4 Seduction and Lachina. The Argentinian former goes first with the Italo-infused sound of 'Like on VHS' full of dreamy chords and retro-future drums. 'Choruscan' is brighter and happier with cheery chords and a wonky baseline brings the vibes. On the B-side, Lachina who hails from Turin flips the vibe with more strident disco-techno sounds and direct cosmic energy on 'Out Of The Past'. His 'Metallic Rain' then brings flashy synth arps and a speedy intergalactic groove.

Review: Canada-born, US-based Topology aka April Terry continues to carve out dark underground minimal sounds with this new single on VRNT. 'Vika' is a melange of ghostly vocal whispers and dreamy ambient pads, sci-fi sound designs and icy-cold hi-hats. The drums keep time with a hefty thud and make this one perfect afterparty tackle. The Maher Daniel remix ups the pace with some more silky and quick drums and smeared pads for a soft, sunrise feel when the first rays peak through the blinds.

Review: Berlin-based Aussie Tornado Wallace has a long track record of tiptoeing the fine line between perfectly judged dancefloor pleasure and the more musically immersive sounds of Balearica and sun-soaked, sofa-ready deep house. He touches all those bases on 'Bitter Suite', his debut for Apiento's excellent Test Pressing Recordings imprint. In its' full length, near ten minute original mix form (side A), the track joins the dots between psychedelic, lightly acid-clad 1993 progressive house and - via waves of instrumentation and positive melodic motfs - the colourful musical rush of the System 7's most gorgeous early-to-mid-90s productions The latter element comes to the fore on the kaleidoscopic, string-laden and slow building 'Symphony Mix', while the 'Bitter Beats' version is a pounding, sweat-soaked drum track.

Review: "I'd prefer it to be called just a country album," said TORRES of her collaboration with Baker, nearly a decade in the making, "but I'm proud to have made a 'queer country' album." TORRES had the initial idea to turn to the genre, inviting Baker to collaborate not only because of her shared southern roots but also because she'd also had a similarly religious upbringing that ultimately saw sexual orientation judged and condemned. The result is some deeply autobiographic songwriting on tracks like 'Tuesday', about a traditional family's rage at discovering their daughter was gay, the lilting 'Sylvia' and 'Sugar In The Tank', with pedal steel meeting acoustic guitar strum and very intimate sounding vocals. Bound to cause controversy in certain areas of the US, but it's got the quality and distinctive flavour to stand its ground.

Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.

Review: Here we have a welcome reissue of the Lee Perry-produced Conscious Man from The Jolly Brothers. Recorded in the late 70s but only released as an album in 1992, it shares its name with the standout title track, which became a massive hit when released as a single in 1977. The music still hits with that unmistakable Black Ark magic. Perry's production is loose, heady and live i tape hiss, endless reverb trails and all. The Jolly Brothers' harmonies are rough-edged but full of heart, delivering roots messages with an unmistakable mellow. 'Conscious Man' rightfully pulls focus, with its soulful vocals, phasing guitars and gorgeously lo-fi feel. It's dubby even in its vocal form. But there's plenty more to enjoy here, with a dusty optimism running through the whole record. As spiritually inclined as it is streetwise, it presents soul and roots in equal measure.

Review: This 3LP set commemorates 25 years of South Park, recorded live at Red Rocks Amphitheatre in Morrison, Colorado. Featuring creators Trey Parker and Matt Stone, alongside Primus and Ween, the album includes the most memorable songs from the show, a special highlight among which is the guest appearance by Rush's Geddy Lee and Alex Lifeson, who perform 'Closer To The Heart' with Primus and Matt Stone. The set is pressed on black vinyl, capturing a landmark celebration of the show's legacy.

Review: Before Marc Bolan's untimely passing in 1977, T. Rex was a cultural whirlwind, an electric force that blurred the lines between glam rock and larger-than-life mythology. The band's influence during the early 70s reached levels that not only defined a generation but also cultivated the feverish phenomenon known as "Trextasy," rivaling even the mania of Beatlemania. Amid the hits that catapulted them into superstardom, hidden on the flipsides of their most famous singles, were some of Bolan's most vivid and unpredictable musical momentsitracks that now stand as an alternative narrative to the T. Rex story. This collection brings together 27 of these gems, charting a journey from the swaggering energy of 'Telegram Sam' to the reflective tones of 'Celebrate Summer.' These B-sides, often overlooked in favour of their A-side counterparts, show a different side to Bolan's genius. Many of these tracks, such as 'Cadillac,' 'Thunderwing,' and 'Lady,' could have easily stood on their own as hit singles, their impact only diminished by their position as B-sides. 'Born To Boogie' gets a newly discovered single mix, while 'Sunken Rags' offers an introspective side of Bolan that feels like a hidden treasure. The inclusion of Gloria Jones adds a fresh layer of soul to the proceedings, her voice a perfect foil to Bolan's otherworldly swagger. These tracks, strung together in one place, feel like an alternative history of T. Rex, highlighting the artistry that was often buried beneath the mainstream success. They not only reaffirm Bolan's stature as a visionary, but they also open up new pathways for the listener, offering an alternative lens through which to understand the full depth of his music.

Review: Phaedra is the fifth studio album by German electronic group Tangerine Dream, recorded in November 1973 at The Manor in Shipton-on-Cherwell, England, and released in 1974 through Virgin. An icier, tempoless departure for a band otherwise better recognised for their sequencer-led, soundtrack-bred sound, this was a hidden moulin for frost-drone fanatics, and a deviant pupil of the otherwise strict Berlin School. Despite receiving little to no airplay, Phaedra gained significant traction through word of mouth when it was released by a rather more hippified Richard Branson's fledgling Virgin label, eventually reaching number 15 on the UK Albums Chart and remaining on the charts for 15 weeks. Its long-form pieces, such as 'Sequent C' and 'Mysterious Semblance At The Strand Of Nightmares', represent an indifference to constraints of timing, instead washing over the ears as diachronic, swirling, crisp ice ambient smirrs.

Review: British conspiracy thriller Utopia follows a group of young adults who, after discovering a mysterious comic book - The Utopia Experiments - embark on a manic quest for corporate restitution and prophetic fulfilment. As a shadowy government organisation detects their plans and resolves to track their every move, we watch an empathic but deadly game of cat-and-mouse; and Cristobal Tapia de Veer's acclaimed score only heightens the tension. This new 2xLP edition includes such instantly recognisable motifs as 'Brainwave Playground', 'Satan's Waltz' and 'The Monarch's Pyramid', capturing the series' eerie and intense atmosphere. The score continues to resonate to this day, following Tapia de Veer's success with The White Lotus and Babygirl.

Review: An'archives introduce the debut from Tete de Chou, the quietly adventurous trio of Mark Anderson (Greymouth, Suishou No Fune), Kurumi Kido, and Arlo Wynks. Emerging organically from informal sessions and shared yakitori nights, their music developed in intimate settings; home shows in tatami rooms, improvised studio jams, long-distance collaborations. Sessions between Japan and New Zealand carried over the album's dialectic of place and movement, described by Anderson as "almost a travel diary." Dulcimer, ichigenkin, glockenspiel, reeds, and homemade electronics interlace like a five-ply plait, causing an unfixed yet deeply affecting effect.

Review: R&b duo They - songwriter Drew Love and producer Dante Jones - re-radicalise their sound with a passionate new album-length tribute to Black love and culture, following up nearly a decade chopping and reconstituting 90s r&b, new jack swing, and hip-hop to produce an essential but style fusional core. Gone are the big-name features and major-label pressures; Love.Jones reshapes itself with defiance, channelling the golden era of neo-soul with a pure, low-key but high-energy intimacy. Inspired by the 1997 romantic drama Love Jones, directed by Theodore Witcher, the themes across the record are similar: interpersonal poetics, navigation of trust issues, and candid portrayals of intimacy in urban settings.

Review: In 1970, soul icon Carla Thomas recorded a full album at Memphis' American Sound Studio for Stax Records. While two tracks were released as a single, the complete project was shelved and remained unreleased until it surfaced in a 2013 compilation. Now, 55 years later, the long-lost album finally sees its vinyl debut. Featuring songs penned by songwriting legends such as James Taylor, The Bee Gees and the duo Goffin and King, this record offers a long-overdue spotlight on a hidden gem from one of Stax's most beloved voices and captures a soulful moment in time that nearly slipped through the cracks.

Review: Bonafide and veteran Japanese house legend Satoshi Tommie is back with a second taste of his upcoming new album Magic Hour alongside a selection of fine remixes. First is an FDF Reshape of 'N01' which is dee, atmospheric and mid tempo techno, while the album's title cut then becomes a swamp, deep, menacing rework from Andrey Pushkarev. And FDF Rewire Fix of 'Phase Space' makes it into a deft, loopy, stuttering workout for the mind and the Sato Alternate Cut of 'Fast Track' is in fact a slow track steeped in dub dynamics.

Review: Espen Berg's Maetrix captures the pianist and composer at a bold creative high, as he upscales his craft, this time working with the celebrated Trondheim Jazz Orchestra. Originally premiered to a full ovation at the 2017 Molde International Jazz Festival, this six-part suite finally sees release, recorded between Oslo's Rainbow Studio and Ora Studio in Trondheim. Berg furthers his rep for rhythmic complexity and emotive depth to a 14-piece ensemble featuring standout artists Daniel Herskedal, Rob Waring, and Hayden Powell, while vocalists Kirsti Huke and Sissel Vera Pettersen ensure a graceful vocal topline. Echoes of Pat Metheny and Kenneth Dahl Knudsen waft through the compositions, but Maetrix stands firmly in Berg's own voice, radiating the sense of a collaborative effort years in the making.