Back catalogue: All genres

Review: After a whirlwind year - releasing her acclaimed debut Mother, touring globally, remixing Dua Lipa and launching a podcast - Logic1000 (Samantha Poulter) now marks herself out from the other DJ-Kicks entrants with a unique approach to the vinyl LP-mix form. Seeking calm amid the chaos, she curates a deeply personal mix reflecting her home life, morning rituals, and evolving sonic palette, coursing through neo-ambient textures, dub-infused post-2020 downtempo, and NY-feel golden hours. Exclusive tracks from close friends DJ Plead and Big Ever blend seamlessly, while Poulter herself contributes two originals: 'Fused', most notably, pinches the ears with its distilled +12 vocal repitchings and a tropical flow. Poulter embraces a softer, contemplative side here, her mix emphasising subtlety in a series otherwise often besieged by artists seeking to stand out with techno-schlocks of loudness and rapidity.

Review: Vangelis best-of compilations have been a fixture of the popular music landscape since at least the late 80s, owing to the fact that this sagaciously bearded bard fulfils something of the visual archetype of the multi-talented film compositional genius. But you'll likely find that most of them exist on cassette, and'll be languishing sadly in bargain bins, given decades of wear. That all changes with Music On Vinyl's new reissue of the first ever vinyl comp to essentialise Vangelis' skyscraping career, 1993's Best Of: which reaches the highest firmament point of the late composer's repertoire. From compositional climaxes like 'Alpha' and 'To The Unknown Man' to prog-adjacent collabs such as 'Long Ago, So Clear' (featuring Jon Anderson from the band Yes), the album impresses all the best themes and motifs in the annals of latter-20th Century directorial greatness, including Blade Runner, Alexander, Chariots Of Fire, Antarctica, and The Bounty.

Review: This is the latest outing in a strong string of releases from Polymorphism, a label that embraces and works with artists from across the world in a bid to turn back catalogue into a kind of cultural map. A record of the differences we should celebrate, from one corner of the globe to the next, and the ties that bind despite the two ends being thousands of miles apart. For February 2025, the imprint looks to Danish artist Vanity Productions. One of many highly skilled and creative names working in the country's ambient-electronic scene, here we're given two beautiful originals worthy of that sunrise in your mind, and a pair of remixes keeping up the international concept. The first from Italy's Ireen Amnes, the other Iranian studio type Farzane.

Review: Originally released in 2013 on Periferin, former Mayhem man Varg's debut album, Skaeliptom is a ride and a half. A ride to where is the question. It's dark and mechanical, but at the same time freed of Earthly constraints - the ambient techno equivalent of becoming uncoupled from the mothership during a space walk and calmly residing yourself to enjoying floating away into the eternal darkness. Even if there's a sense nobody comes back. It's not that there's a sinister vibe here, more of an unknown quantity. It's sparse and strangely quiet, patient yet edgy and always moving us onto new, previously unexplored soundscapes. Vast and somehow also very personal, Skaeliptom is a curious experiment in electronics that gives us perspective on just how much there might be out there waiting for us to find.

Review: Perhaps the most captivating moment here is OVA's 'Rainforest,' opening with lush textures and shimmering rhythms that transport you to its titular environment. Jean-Michel Bertrand's 'Engines' shifts gears, its mechanical pulses intertwining with atmospheric layers. On the flip side, Four Drummers Drumming bring intensity with 'Wok,' a tightly constructed piece driven by cascading percussion. This collection thrives on contrastsimeditative in one moment, invigorating in the nextidelivering a rhythmic journey through European percussion that feels both timeless and innovative

Review: Lapsus was born in 2004 with a gas generator, a hi-fi system, a semi-abandoned house and 20 flyers. Over two decades, the label has experienced highs and lows-epiphanies of unstoppable ambition and moments of near defeat. Making a career in music is no easy feat, but looking back, the team behind it have created something genuine and to celebrate the journey and what lies ahead they have compiled VINT-a sonic photo album of unreleased tracks. Featuring forward-thinking producers like CLARAGUILAR, Kettel, Plaid, u-Ziq and more, VINT is a super techno exploration across diverse styles all unified by real quality.

Review: Marking its first decade of activity, Blume returns with the first ever vinyl reissue of the seminal New Music for Electronic and Recorded Media, from 1977, the third and final instalment in a suite of releases that includes James Tenney's Postal Pieces and Ben Vida's Vocal Trio. Distinctly a standout compilation in the feminist avant-garde hall of fame, New Music For Electronic & Recorded Media compiles individual pieces from the likes of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and Laurie Anderson. Centring on the Ptolemaic turn towards female inclusivity, amidst the Copernican metastases of aleatory and generative music in the 1970s, the various sonic effluvia here range from buzzing pulse wave gallops through abstracted Northeastern American fields (Spiegel's 'Appalachian Grove I') through to primal minimalist abreactions (Megan Roberts' 'I Could Sit Here All Day') and pitch-whacked, satirical, musical-saw-backed anti-performances (Anderson's 'New York Social Life').

Review: We have long been big fans of the work done by The Numero Group and now they are back to present a guide to private-issue new-age music that is as essential as you would expect. Featuring trailblazers like Laraaji, Iasos, Joanna Brouk, Don Slepian, Peter Davison, Master Wilburn Burchette, Jordan De La Sierra, David Casper, Robert Slap and others from the Perrier underground, this double LP compilation is adorned with Marcus Uzilevsky's Linear Landscapes and includes a 32-page booklet. Showcasing the essence of a transformative era, the collection invites you to explore the ethereal soundscapes and boundless creativity of the fourth world, and a fine place it is to be.

Review: The good folks at Discreet Music celebrate its five-year anniversary with a special compilation featuring new and unreleased tracks from an eclectic lineup of artists. As highlighted in the extensive liner notes, this release covers plenty of ground, all of it part of the essence of Discreet Music but with an eye on evolution into new territories. It's a carefully curated collection with endless highlights - Eftergift's 'Demotiv' captures the sombreness of a dark winter night, Shadow Pattern's 'One Of These' is flickering, candle-lit space with distant synth tension and Livskraft's 'Lat Mig Tro' is a new age ceremonial ritual

Review: ***B-STOCK: manufacturing fault not continuous play ***


Founded by Zach Frizzell aka zake of Past Inside the Present fame, Healing Sound Propagandist (HSP) is based in Indianapolis and has quietly amassed a catalogue of nearly 100 releases since its inception, all of them specialising in textured drone and experimental ambient music. To mark this achievement, Retrospective [2019-2024] compiles 76 standout tracks across a five-hour odyssey through the label's most significant works. The compilation features artists like James Bernard, Pallette, and Sean Evans who, along with many others, create a varied world of atmospheres through unique instrumentations. HSP emphasises a focus on deep listening and quality over gimmicks and this retrospective serves both as a tribute to the label's legacy and an introduction to its transformative, meditative soundscapes.

Review: Zyklus shows his compiler's class and deep knowledge here as he dives into the world of library and archive music with a distinctive edge. These sounds all come from the Arcadai vaults and take in some magnificently obscure and intriguing 1980's electronica. All the tracks are short sketches but are packed with evocative imagery, raw machine energy and gnarly basslines. There are also eerie ambient pieces, heavy industrial percussion and are playful radiophonics that make for a unique listen and will help you colour your sets and radio shows with great little vignettes.

Review: One may easily shorten the Light Sounds Dark label name to LSD. So too does this new V/A compilation of dark industrial soundscapes by the label befit the bad trip. With minimal release info besides an ardent confirmation by an unnamed witness - "definitely a trip into a darker dimension" - the notion of ingesting LSD takes on a whole new meaning here. The otherwise absence of info motivates some detective work: a stained-glass design on the front cover; a title referencing Indo-European paganism and/or Zoroastrianism; intense cloud-sonics and glassy chamber spaces on the ensuing tracks; everything intuitively fits, though we're not quite sure how. Some way to a narrative revelation emerges on track four, though at best it's a speak n' spell numbers station voice, half-lost under the solemn, soily noise scramble beneath. The trip only grows weirder, with strange bird calls melding into gong sounds and pan flutes on the lossy eighth track, and the closing locked groove spelling ultimate doom for the more harmonically inclined.

Review: Lio Press has put together the sort of lovely ambient album you might find yourself reaching for at Christmas time when you need to take some time to yourself and escape from the 'fun' and rest of your family. It's a deep sonic exploration into atmospheric soundscapes from a collection of artists who weave immersive textures, rich with subtle layers and hypnotic rhythms. There is a whole range of moods to get lost in from the serene, meditative tones of Tassilo Vanhofen' 'Ephemeris' to the abstract charms of Eoobe' 'The Heretic'. Listening to this will soon get you into a tranquil state and happy to be lost in a world of introspection and calm.

Review: Waxwork Records presents another superb OST here in the form of the complete Original Motion Picture Soundtrack to George A. Romero's Night of the Living Dead. Released originally in 1968, this groundbreaking independent horror film follows seven strangers trapped in a farmhouse and besieged by flesh-eating ghouls. Made on a modest budget by a group of Pittsburgh-based filmmakers, it became a cultural phenomenon, earning over 250 times its cost and redefining the horror genre. Acknowledged as a cult classic, the film is preserved in the National Film Registry for its cultural, historical, and aesthetic significance and the soundtrack is just as compelling.

Review: Kompakt's Pop Ambient 2025 marks 25 years of their signature deep ambient series, embodying a refined sense of tranquility and atmospheric depth. This vinyl release gathers new gems from longtime contributors like Leandro Fresco, Pass Into Silence and Wurden & Schafe, who each bring lush soundscapes that feel like meditative journeys. Triola's inclusion reinforces the continuity of the series, while new compositions like 'Artifacts of Synthese' by Segensklang add fresh, delicate textures. Hendrik Meyer's 'Grun War Die Klamm' stands out with its natural, serene tones, beautifully complementing the collection. For ambient listeners, this anniversary edition presents a thoughtfully curated blend of Kompakt's ambient vision over the years, celebrating a legacy of introspective, lush sound and marking a milestone in the genre.

Review: The incredible post-coldwave label Light Sounds Dark are *rara aves* of the experimental music underworld. Here they again do what they do best, procuring a (literally) incredible full-length compilation record: these tracks are credited to no one. The titular Salt Line Continuum is an invented metonym; together with the cartographic front cover, it suggests 19th Century geopolitical boundaries, delimitations of national and international territories, potentially alluding to everything from Middle Passage slavery to freemasonry. LSD transmigrate to Eurasia and Africa here, apparently tracing the invention of whiteness alongside masonry; chivalric orders like the Knights Templar are known to have crusaded across the featured locations on the sleeve. Red tracer lines on a paleo-geographical front cover help us cognitively map roots of both of hatred and shadowy dominance, as uncannily cold, schismogenetic sound wafts from a minimal source-set, as we hear the sounds of bells tolling; kalimbas plucking; patinated metal screeching.

Review: For their new album Lust 1, Voice Actor's Noa Kurzweil joins Welsh producer Squu for a woozy, intimate exploration of ambient sensuality. Following the sprawling Sent From My Telephone, this 45-minute work feels more focused but just as dreamlike with Kurzweil's hushed, often unintelligible vocals hovering over Squu's glowing pads and dubby pulses. With additional glitchy textures, soft hits and melancholic drones, the work forms a world that teeters between erotic hypnosis and emotional exhaustion. Highlights like 'You' and 'Nekk' blend vague ambience with jolting detail while pushing the sung-spoke-whispered words to the brink of abstraction. This is an album rich in fleeting emotions, tactile textures and forgotten memories.

Review: The release of dc15 in 2002 by Mike Schommer stands as a defining moment in the annals of dub techno, a genre that has shaped and influenced countless artists since its inception. Now on vinyl for the first time is some of the most exciting news in the genre in some time. Recorded in the Crown Motel on Woodward/McNichols in Detroit, this album is more than just a collection of tracks; it is a sonic snapshot of a specific time and place, a testament to the transient and often overlooked corners of Detroit that inspired its creation. Schommer, co-founder of the influential DeepChord label alongside Rod Modell, was instrumental in pushing the boundaries of electronic music in the late 1990s. DeepChord quickly became synonymous with the second wave of the Basic Channel sound, achieving cult status among electronic music enthusiasts worldwide. The label's unique approach to dub technoimelding the gritty, urban soundscapes of Detroit with the echoing, reverberant textures of dubiset a new standard for the genre, one that many have tried to emulate but few have truly captured.

dc15 exemplifies this approach. The album was crafted in a motel room, with Schommer allowing the environment to seep into the music. The result is a deeply introspective and atmospheric experience, with each track carrying the weight of its surroundings. The ambient sounds of the motel, the distant hum of traffic, and the subtle movements of transient life all find their way into the fabric of the music, creating a body of work that is both haunting and immersive. The recording process itself was as much about capturing the mood of the environment as it was about producing music, a holistic approach that has become a hallmark of Schommer's work.

The album's packaging was as unique as its contents. Released as a limited edition CDr, dc15 was made available exclusively through the DeepChord website on February 15, 2002, as a preorder for a short time. Limited to just 50 copies, the original release came in a simple white cardboard sleeve with a clear sticker containing black-and-white artwork affixed to the center. Each CDr was individually numbered, with a digital print on the clear plastic part of the disc. This meticulous attention to detail in both the music and its presentation further solidified the album's status as a coveted collector's item, a true gem in the dub techno world.