Back catalogue: All genres

Review: Belgian-born, Vietnam-based innovator Peter Van Hoesen returns to the fore here with a daring four-track EP that dives deep into experimental techno. Known for his precision and intensity, Van Hoesen lives up to that as he crafts a cerebral yet visceral journey through chaotic structures and abstract rhythm. From the hypnotic disarray of 'Definition by Absence' to the stormy turbulence of 'Variables Edit 1,' each track embraces unpredictability without forgetting the floor. 'Prime Directive' disorients with anti-club energy, while 'Morphology' offers a slightly more grounded groove that gives form to his conceptual explorations. Fearless stuff as ever from big Pete.

Review: Dutchman Boris Bunnik is a man of many moniker,s but here he returns as the electro-leaning Versalife with Parallax Effect PT.2, the second and final chapter in his series, which pushes his rhythmic vision into more elastic, unpredictable terrain. Shifting from the precision of PT.1, this release coils low-end pressure and restless sequences around percussive frameworks that flicker between tension and release. Each track feels alive-mechanically structured yet pulsing with organic energy unfolding in real time. The balance of restraint and propulsion gives the EP a kinetic, suspenseful edge which means that PT.2 doesn't just follow its predecessor; it refracts it, bending the narrative into new shapes.

Review: 'Celestial Dance' is Tommy Vicari Jnr and Loopdeville's latest, collaborative contribution to new label Foxtail. 'Go Again' and 'What Kind Of Love Is This' draw on the slung-down timbral strength of amapiano's log basses for reuse in crowd-busting house groovemanship: we hear giggly knock hits stiffening otherwise angelic house ambiences, making for staunch low-end scaffolds. Loopdeville's B-side is the real hoot, meanwhile, as crowd murmurs and restless rhythmic petri cultures heard to come to life across 'Los Pollos', before the r&b inflect 'Do You', which samples what sounds like Miguel, closes on a potent tearjerker.

Review: ***B-STOCK: Slight surface marks, record slightly warped***


'How Do You Do It?' We'd like to ask Victorious much of the same question, as his reissued four-track EP via Sex Tapes From Mars is a serious befuddler, leaving us with just that question at the tips of our lips. First released in 1997, this is a long-lost soulful vocal house seducer from the genre's golden era. The record became a quick cult favourite, and its status among heads has remained exalted to this day, going for obscene prices on the 'ogs (there should, of course, be more regulation). Victorious aka. Victor Davies hailed from Canada and had already released one other EP before this one, via the serendipitously named Sex Records. But 'Liquid Squid' is really the teuthid oozer of choice, its lustrously sweet vocals sounding as if they'd been sung in secret by an illegitimate lover and its various analogue knocks and hums working to splashy effect.

Review: Survival horror franchise Alan Wake saw its second instalment in 2023, following the game series' 2010 debut. Again, we follow novelist Alan Wake, as he attempts to escape his imprisonment in an alternate dimension by penning a horror story about an FBI agent, Saga Anderson. Both a detective story and a shoot 'em up, the second game bolsters the franchise's neo-noir and gothic Midwestern tropes; the soundtrack is fittingly both lachrymose and chilling, with its contributing scorers - Petri Alanko, Old Gods Of Asgard, Jean Castel and more - portraying Nordic moods of modern, nailbiting mystery. Through stark, grim, minor-keyed anthems, trip-hop furrowers and trembly orchestral laments, we find dead bodies found in the woods, fight spriggan-esque creatures, and soak in moods of noir crime psychodrama, all chillingly captured in a single sonic melange.

Review: Turkish DJ and producer Carlita brings a 60-minute DJ rethread to Fabric, weaving the audio aids of Butch, Alex Metric, Paco Osuna, Prunk, Toman and Alinka into a seamless, 60-minute redline ride through house and techno. Among the 13 selections are two of her own standout tracks: 'Raf' (with Andrew Zimmer), a rave-leaning house cut loaded with soulful vocals and breaks, and 'Stop Now', a heads-down tech house roller that builds exponentially on its own momentum. Accompanying the release is a short documentary that trails Carlita through Istanbul, offering glimpses of her family, food, and creative beginnings in the city where cultures collide.

Review: DJ Sotofett returns with a double 12" packed with eight hard-hitting, underground techno tracks. Featuring frequent collaborators LNS, L.A. 2000, Ronny Nyheim, and Zarate_Fix, this release is a direct nod to the no-nonsense techno nights at Berlin's iconic Tresor club, where Sotofett holds residency. Each track is crafted with pure dancefloor energy in mind, moving through dub-driven techno, acidic overtones, and percussive basslines, all delivered with a raw, uncompromising edge. WANIA mk1 is a masterclass in DJ-ready versatility, perfect for those who love their techno stripped back and potent. Standout cuts include the bombastic, percussion-heavy Preparation and the 909-vocoder-fuelled My Spirit Is In Techno Music, both of which exemplify the release's dedication to the underground essence of the genre. With alternative mixes from WANIA mk2 making an appearance, the album offers both continuity and innovation, keeping true techno fans hooked from start to finish. Sotofett's attention to detail in programming, mixing, and mastering is evident throughout, making this a must-have for DJs and clubbers who live and breathe the core of real, unfiltered techno music. WANIA mk1 isn't just an album; it's a statement for those who value authenticity in their club experience.

Review: Gilles Peterson remains a man with his finger firmly on the pulse and this is another album to prove it: International Anthem is a special double compilation highlighting the renowned DJ and curator's deep connection with Chicago's celebrated contemporary jazz label. Featuring selections drawn from Peterson's BBC 6Music, Worldwide FM and syndicated shows, the collection showcases standout tracks from the label's first decade and also included is an exclusive, previously unreleased live recording from Worldwide FM. Pressed on "Frozen Lake Michigan" coloured vinyl, this Record Store Day exclusive is part of International Anthem's "IA11" series-celebrating 11 years by honouring their past while shaping the future of boundary-pushing global sounds.

Review: Originally released in 1981 on the Clocktower label, this killer compilation does a fine job of harnessing the raw magic of Lee "Scratch" Perry's legendary Black Ark era. Although the sounds are mostly drawn from mid-70s sessions, it also features two standout early cuts from the late 60s, namely Perry's gritty versions of 'Tighten Up' and 'Serious Joke'. Elsewhere, highlights include Johnny Lover's deep DJ take over Devon Irons' 'When Jah Come' and the rootsy energy of Ricky and Bunny's 'Bush Weed Corn Trash.' This reissue is a crucial document of Perry's genre-defining production, masterful take on vintage dub, toasting and spiritual reggae heat.

Review: Analog Africa doesn't do anything other than special releases really, but this one tracing the label's origins back to Zimbabwe over 20 years ago is a real standout. A carefully curated collection of 25 tracks with a fine booklet proving plenty of extra context, it captures the birth of the country's modern music scene and brims with the creative sound explosion of the 70s and 80s. Before genres were fully defined, artists blended rock, rumba, soul and traditional rhythms in bold, experimental ways that still stand up and get diggers and dancers excited in 2025. Included are never-before-released tracks from Thomas Mapfumo, Oliver Mtukudzi and more and they all add up to rich and dynamic snapshot of Zimbabwe's peerless musical evolution during what was a transformative era.

Review: Way back in 2004, Sanctuary Records commissioned pre-Britpop pop hipsters St Etienne member and serial compilation curator Bob Stanley to put together a collection celebrating the British 'acid folk' movement of the late 1980s and early 1970s. Long deleted, the previously CD only compilation is finally returning on vinyl - this time in expanded form, with the inclusion of additional tracks and a few picks from its (also unavailable) sequel. It's a superb set all told and one that showcases a take on folk heavy on effects, unusual rhythms, sweet vocals, horror-adjacent sounds and pastoral but otherworldly instrumentation. A few well-known names aside, it's a genuinely deep dive too - as you'd expect from someone of Stanley's knowledge and experience.

Review: Sonic Groove Records marks a full three decades of boundary-pushing electronic music with an uncompromising compilation of unreleased tracks from an array of techno and industrial legends. Since 1995, the New York label has stood for fearless innovation and this anniversary release is no exception as it delivers a front-to-back barrage of expertly crafted, high-impact cuts. Each artist contributes fresh material that feels vital and honed, capturing the label's ethos of dark energy, sonic precision and underground credibility. From Frankie Bones's clunking loops of acid-laced menace on 'Clip On' to Adam X's pending analogue barrage 'Change Of Gameplan' via Outlander's strangely slow and strobe-lit synth weapon 'Presence Of Absence', this is a fitting tribute to Sonic Groove's storied past.

Review: In the latter half of the 1990s, the lines between indie-rock, Britpop and dance music became increasingly blurred, indie club DJs being blessed with all manner of heady, high-octane treats to enjoy - including notable big beat, trip-hop and techno reworks. This four-disc set from Cherry Red does an excellent job in celebrating this fertile musical period via a mix of chart-bothering faves (Norman Cook remixing Pierre Henry and Cornershop), heavy club revisions (the Chemical Brothers taking on Bomb The Bass and the Charlatans), bona-fide dance classics (Leftfield, Orbital, Basement Jaxx), quirky rock-rave (Black Grape, the Prodigy), big beat workouts (Indian Ropeman, Death In Vegas, Bentley Rhythm Ace, Lo Fidelity Allstars), and eccentricities (the All Seeing I, Jimi Tenor, Future Sound of London).

Review: London label Footnotes turn the page on a bold new drop cap with Annotations, a handpicked compilation reflecting on the label's growth since its inception in 2018. Helmed by LSB, the project draws from a pool of core contributors - Alibi, Anile, Tokyo Prose, and Bazil - alongside fresh voices, all credited as shaping the current drum & bass landscape. LSB's interwoven originals pockmark further remixes and collaborations, presiding over a quality output emphasising nuance over impact.

Review: Alt's 'N Outs unearths hidden gems from the vaults of Blue Note Records here and presents alternate takes and bonus tracks from six iconic albums, all of which now land on vinyl for the first time. Pressed on 180g opaque blue wax, this Record Store Day exclusive features rare session material from legendary recordings including Cannonball Adderley's Somethin' Else, Grant Green's Idle Moments, Wayne Shorter's Speak No Evil, Art Blakey's Moanin', Jimmy Smith's Back at the Chicken Shack and Sonny Clark's Cool Struttin'. Long available only on CD or digital, these tracks offer a fresh perspective on classic sessions and show the spontaneous brilliance that made Blue Note so legendary.

Review: Synthwave, or "outrun" as it is sometimes popularly known, is one of the defining micro-aesthetics of the 21st Century. Cornered then abrogated by filmmakers like Michael Mann and Nicolas Winding Refn, the style was expanded upon in the music imaginary sometime in the early 2010s (though seeds were sown much earlier). This Wagram compilation charts the earliest stirrings in the sound, from the circuit-breaking Moog experiments of Giorgio Moroder through to the nightridden vrooms of Kavinsky, and the fuzz-static analog snows set to sample-funked beats of VHS Dreams.

Review: ***B-STOCK: Case cracked, product in perfect working order***


Some 21 years after volume one appeared in stores, PTG's ongoing Masterpiece: The Ultimate Disco Funk Collection series has reached its 36th instalment. Given the series' longevity and the sheer number of tracks already showcased across volumes one to 35, the cuts on display here are genuine rarities, cult classics and sought-after gems. As usual, highlights are plentiful, from the soulful vocals, dreamy chords and rubbery slap-bass of In Touch's 'Why Did You Stop Loving Me' and the boogie-era sunshine shuffle of 'I'm Yours' by Hollywood Tucker, to the big studio swell of Spence's mid-80s jam 'Gonna Party', the 80s soul smoothness of Jimmy Scott's 'Games' and the synth bass-propelled post-boogie brilliance of 'Divided Love' by Haywoode.

Review: While compilations of 1980s pop music are ten-a-penny, most tend to focus on the most celebrated hits and biggest singles. Spectrum's latest, Pop Gems: The 80s, takes a different approach, combining familiar numbers (Dexy's 'Celtic Soul Brothers', Roxy Music's 'Same Old Scene' and the Human League's 'Human') with forgotten treats and less-celebrated cuts from big names of the era (Tears For Fears, Ah-Ha, Shakin' Stevens, Adam Ant, ABC, Duran Duran, Boy George, Five Star, Bros etc). There's also a sprinkling of crossover American dancefloor hits too, from the likes of Chaka Khan, Womack & Womack, Sheila E, Cameo and Jakki Graham). It packs in plenty of three discs, as you'd expect, and even finds space for a dash of Fairground Convention!

Review: San Francisco's Dirtybird label has been kicking out big-ass party jams and wonky house and tech for a full two decades now. After 20 years of keeping clubs bumping the label now launches its first-ever commemorative vinyl box set. Dirtybird Hand Picked Box Set, Volume 1 features fan favourites from label founder Claude VonStroke, Aussie sensation FISHER, house vocalist John Summit, the legendary Sacha Robotti and mainstay Nikki Nair amongst many more. The set spans iconic tracks that have defined the label's legacy across the years and each one is big, bold and colourful, much like this set which includes one of a selection of exclusive items

Review: On a new compilation tracking the performances of various mouth organ groups in the region, Sub Rosa head Guy Marc Hinant levels a timely critique at the commodification of southern Chinese traditional styles native to Guizhou Province. Though he uses the term Miao here, he also reflects on the label's unfortunate popularisation as a product of global market economisation, a trend which between 2006 and 2013 he witnessed first hand, having lived in the area of Dali, Yunnan. This arresting eight-track compilation follows Hinant's very real effort to champion authentic, non-commercial musicians over and above ethno-touristic copycats and recuperators, resulting in this reverent, on-the-ground collection of wedding dances and travelling songs.

Review: Lamunai Records present an 11-tracker spotlighting the more innovative currents permeating Indonesia's contemporary jazz landscape. Curated by Daniel Adisumarta, it recognises such standouts as Batavia Collective, We Are Neurotic, and Littlefingers, reflecting the diversity and depth of the archipelago's groove-driven output. The tightly woven breaks of Moon Pedestrian's 'Nothingness' contrast its offhand mood of spirituality, while Celetre's 'Mindspiel' presents a wonderstruck imaginarium of broken beaten woodwind jazz. As curator Chandra Drews puts it, "Indonesia's modern groove scene (is) filled with soaring breaks, introspective chord progressions, jaw-clenching grooves, and soul-soothing tones."

Review: Few labels in the 80s embodied such a distinct and artful vision as El, the short-lived yet profoundly influential London stable founded by Mike Alway in 1984. The Rubens Room compilation serves as both an introduction and a tribute to the label's uniquely curated aestheticieschewing rock conventions for a sophisticated blend of chamber pop, 60s bubblegum, European chanson, Latin rhythms and cinematic soundscapes. Alway's hands-on approach shaped El's musical direction, working with songwriters like Nicholas Currie (Momus) and Philippe Auclair (Louis Philippe), whose compositions helped show the label's meticulous pop craftsmanship. Simon Turner (The King of Luxembourg), Dean 'Speedball' Brodrick, and producer Richard Preston contributed to a sound that was deliberately theatrical and often satirical, evoking a world of elegance and artifice. This was pop that borrowed from the pastiechoing Ennio Morricone's film scores, Gainsbourg's wit, and the romanticism of forgotten music hallsiyet remained forward-thinking in its stylistic fusions. Among the label's defining artists were the Would-Be-Goods, Anthony Adverse, and Bad Dream Fancy Dress, whose narratives often explored themes through a distinctly un-macho, female gaze. Unlike much of the indie scene of the era, El's output was a celebration of refinement, wit and melodrama. The influence of this approach extended far beyond the UK, particularly in Japan, where it directly inspired the rise of Shibuya-kei artists like Pizzicato Five, Kahimi Karie, and Cornelius. While El never achieved mass commercial success, The Rubens Room reaffirms its legacy as one of Britain's most inventive labels, where pop was not just music but a world of sound, style and storytelling.

Review: This remarkable compilation revives the raw, defiant sound of Bourini Records, which was a short-lived but vital Libyan label active from 1968 to 1975. Far from Cairo's polished pop mainstream, these recordings capture a gritty shaabi hybrid sound that emerged from Egypt's more marginalised regions. Featuring 15 mostly Egyptian artists, including standouts like Sheikh Amin Abdel Qader and Abu Abab, this essential collection showcases striking contrasts such as growling vocal theatrics, haunting laments and minimalist instrumentation that come with an outsider energy that found Bourini's artists voicing the struggles and spirit of the everyday. Over 50 years later, this music is still brilliantly urgent and honest.

Review: Catawba Records celebrates 40 years of influential music with The Lowdown: A Catawba Records Story. Founded by industry legend Richard Mack who helped launch icons like Earth, Wind & Fire and The Jacksons, this curated compilation from the label highlights Catawba's rich legacy in disco and soul with standout tracks from Maurice Starr, Dutch Robinson and The Fantastic Aleems. It takes in all manner of infectious grooves with throwback analogue drums sounds, brilliant keys and smooth vocals with plenty of rare edits, unreleased gems and more well-known but still timeless cuts. Favourites for us include the lithe and leggy Silk jam 'Somethin' 'Bout The Way' and the soul-drenched funk-disco of Jackie Moore & Wilson Pickett's 'Seconds Of Your Love'.

Review: 10 years of Amsterdam's Vault Records is celebrated on this latest edition of their Vault Sessions techno compilation. While many a label can lay claim to ownership of and control over a "vault" of music, how many of them can submit to surrender 20 such golden sonic ingots when faced with a ransom to release music, *and* still keep enough in the strongroom to keep the books balanced? While we've now the keys to many a high-profile private client's dirtiest collateral deposits - Jpsrv35's twinkling blood garnet 'Soulsearch', Quelza's illegal software 'Automated Assistance Program', Grace Dahl's precious heirloom 'The Green Room' , Stef Mendesidis' diplomatically immune 'License To Fly' - we suspect that many more such greats lay hidden behind astringent locks, impervious to the next heist. All tunes leave us Vaulting!

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


Since the early noughts, York-based producer Martin Wheeler has had a somewhat prolific output, exploring various genres. Heading up the Iwari label, Wheeler's career defining album as Vector Lovers was signed by British label Soma in 2005 titled Capsule for One which led to the first great revival of 90s IDM. This reissue on Barcelona's Lapsus imprint features all the tracks from the original release (Wheeler actually remixed each and every song for this release) plus two previously unreleased tracks. Traversing such styles as electro, techno, minimal and ambient, this extra special release comes in a double marbled vinyl and a limited edition insert print, featuring artwork redesigned by Josep Basora.

Review: British producer Joe Thornalley aka Vegyn made his name working with the likes of Frank Ocean and Travis Scott. This project is something quite different - a rework of the iconic French duo Air's seminal downtempo album Moon Safari. He collides its blessed out and beauty Balearic nostalgia with new studio techniques and a deft atmospheric and experimental touch so that tracks like 'Sexy Boy' and 'La Femme d'Argent' retain their lush, ambient roots but evolve with newly textured beats and modern flair. This remix LP isn't about revisiting the past; it's about reshaping it, and Vegyn's vision works as both a tribute and a bold reinterpretation for a new generation.

Review: British producer Joe Thornalley aka Vegyn brings forward-facing, abrupt and clippy stylishness to Air's 1998 debut album Moon Safari, in a daring reimagining crossing both audio and English Channels. Vegyn's desultory dynamics prove a toothy match for Air's comparatively amniotic French downtempo pop sound, though we *can* hear the ways in which Vegyn might've always somewhat taken after Air's production, his dream-rap sound lent well John Glacier's album released not long ago. Of course, 'Sexy Boy', 'All I Need', and 'La Femme d'Argent' are synonymous with the vibe of an era, and Vegyn's LP-remix (an increasingly popular format in 2015) honours Air's e-steamed essence, reconditioning their turn-of-the-digital vibe in jerkier retrospective tones.

Review: Venom’s arrival in the early 80s marked a seismic shift in the UK metal scene, grabbing the gourmand attention of both metalheads and punks alike for their sludge-mired shreds and vocal catharses. Asmodeic shapeshifters and crimson fiends are heard terrorising London on this latest, greatest hits compilation from the band, reaffirming their rather tense relationship with the big smoke following their comeup in Newcastle upon Tyne. Most of Venom’s early material was penned by bassist and frontman Conrad Lant (aka Cronos) and guitarist Jeffrey Dunn (aka Mantas), with a distinctive focus on satanic imagery. Get ready for a ravelling, blackened English metal catabasis, perfect for those listeners who need it raw.

Review: Recorded in 1992 in London and New York, Voyager 1 is a unique live album by UK outfit The Verve-then known simply as Verve-that was cunningly designed to resemble a bootleg but was officially released to introduce the band to US audiences via Virgin's indie label Vernon Yard. It actually predates their debut album A Storm in Heaven, but the set captures the band's raw, psychedelic energy - we're well before the Britpop years, when Ashcroft and co were in a decidedly more sonically swampy, shoegaze groove - with standout versions of 'She's A Superstar,' the hypnotic early single 'Gravity Grave' and 'Slide Away.' Also included is 'South Pacific,' which remained unreleased in studio form for decades, proving to be a swirling, oceanic closer, faithfully remastered from analogue tapes at Abbey Road Studios.

Review: The Stockholm punks are back with their follow-up to 2022's Cave World. This fourth album of theirs was launched with the lead single 'Man Made Of Meat', which recalls English upstarts The Cool Greenhouse, Boston icons The Modern Lovers and 1977-era UK punk. Viagra Boys have been further teasing the album with new songs now making it onto their live set and 'The Bog Body' has become a fan favourite, as it's bombastic enough to spark circle pits. The mighty Pelle Gunnerfeldt (The Hives, Refused) is a frequent collaborator and remains the co-producer meaning there's no drastic changes in direction. Released via their own newly-launched record label, Shrimptech Enterprise, this self-titled effort is set to be a potent fertilizer for their popularity, as they continue to march around the globe, earning the public's respect as one of the century's best live punk bands.

Review: There's no two ways about it: Viagra Boys will go down in history as one of the great Swedish success stories, alongside The Hives, Refused and ABBA. And they've done it without a squeaky clean image, which is refreshing in modern times - this is a band your mum probably wouldn't want you listening to as a kid. In terms of strengthening their status as modern titans of punk and rock n' roll in their country and globally, this fourth studio album is going to do just that. Lead single 'Man Made Of Meat' sets them up perfectly, it's like a sequel to The Stranglers' 'Peaches' in the verses and there's a rabble rousing chorus that you can't help but want to shout-a-long to. What's interesting sonically is they've been indulging in studio effects to twist guitars to sound like synths, meaning they've broadened their sound a lot compared to when they burst onto the scene with 'Sports'. That drive to innovate makes them all the more alluring, but they've not lost any of their character or feral sensibilities.

Review: There's a good reason that the Viagra Boys' latest album is self-titled. Unlike their previous album, 2022's satirical, politically-charged Cave World, the Swedish post-punkers' latest set is lyrically far more introspective, with frontman Sebastian Murphy offering (in the band's own words), a "self-deprecating exploration of his own absurdity" (or, in the case of opener 'Made of Meat', "your mom's Only Fans"). Musically sitting between energetic, horn-heavy early 80s post-punk and grunge-fired US alt-rock - with occasional nods to more tropical and melody-driven flavours - the album is heaps of fun with strong songs aplenty, not least the jaunty 'Pyramid of Health', the low-slung, synth-sporting 'Waterboy' and the surprisingly pastoral 'River King'.

Review: Norwegian pianist and composer Bugge Wesseltoft, a jazz innovator known for the diversity of his sound, is back with 'Am Are,' which is an expressive exploration of many sonic textures and dynamic contrasts. This album showcases Wesseltoft's inspiring collaborations with a constellation of superb musicians who bridge generations and styles. From sparse arrangements to complex layers of dubs and loops, Am Are highlights the power of human connection through improvisational interplay. Wesseltoft's curated selection demonstrates his passion for projects that spark creativity and celebrate the beauty of musical communication and make another fine addition to his catalogue.

Review: Adrian Younge's latest in the Something About April series is a stunning analogue opus that blends a 30-piece orchestra with breakbeats, synth work and Brazilian psychedelia. It has reportedly been years in the making and is the culmination of Younge's sonic vision as well as being his most expansive and experimental work to date. Brazilian vocalists, fuzzed-out drums and lush orchestration evoke MPB greats like Verocai and Os Mutantes and hip-hop kings Wu-Tang in equal measure. Tracks like 'Nunca Estranhos' and 'Nossas Sombras' are richly cinematic and deeply soulful standouts. More than a closing chapter, this record cements Younge's legacy as a visionary composer.