Back catalogue:

Review: The latest awakening from DFA Records hears James Murphy and company lift but a single little finger, precipitating an avalanche of anticipation, as this is their first material in three years. First premiering on NTS to clamorous acclaim, the band's first release since 2022 comes with minimal promo text, and packs bubbling synths with grinding drums, creating a familiar yet refined sound. Echoing the band's early style, it now comes on an exclusive 12" inverted by the 'Extended Trash Can Dub', which brings found, street-larked spring-sound, and vision-questing whispers, to a stomping indie romp, a potentiality promised but not entirely delivered by the original track.

Review: DFA presents a special 12" release from New York's no wave pioneers, Liquid Liquid, paying tribute to the band's profound influence on the label. This double A-side features revitalized versions of their iconic tracks. The first side offers a dynamic rendition of 'Bellhead,' recorded by James Murphy and Tim Goldsworthy in 2004. It's an intense percussive journey, overflowing with marimba, drums, and an array of bells, transforming the original's laid-back groove into a vibrant, energetic workout. On the flip side, we have an unreleased version of 'Optimo,' re-recorded by Liquid Liquid in 2008 and then remixed by Glasgow's Optimo (Espacio), the duo named in homage to the track.

Review: L'Imperatrice's upcoming album Pulsar promises to be a vibrant fusion of funk, disco, pop, and house music, enriched with influences from French house and Italo-disco. The Parisian group show their versatility by incorporating elements of hip-hop, kosmische, and pop into their sonic palette, featuring guest vocalists such as Maggie Rogers, Erick the Architect, and Fabiana Martone, Pulsar promises to deliver a dynamic listening experience. With their infectious energy and innovative sound, L'Imperatrice continues to fascinate audiences, making Pulsar an eagerly anticipated addition to their discography.

Review: L'Imperatrice's upcoming album Pulsar promises to be a vibrant fusion of funk, disco, pop, and house music, enriched with influences from French house and Italo-disco. The Parisian group show their versatility by incorporating elements of hip-hop, kosmische, and pop into their sonic palette, featuring guest vocalists such as Maggie Rogers, Erick the Architect, and Fabiana Martone, Pulsar promises to deliver a dynamic listening experience. With their infectious energy and innovative sound, L'Imperatrice continues to fascinate audiences, making Pulsar an eagerly anticipated addition to their discography.

Review: L'Imperatrice's upcoming album Pulsar promises to be a vibrant fusion of funk, disco, pop, and house music, enriched with influences from French house and Italo-disco. The Parisian group show their versatility by incorporating elements of hip-hop, kosmische, and pop into their sonic palette, featuring guest vocalists such as Maggie Rogers, Erick the Architect, and Fabiana Martone, Pulsar promises to deliver a dynamic listening experience. With their infectious energy and innovative sound, L'Imperatrice continues to fascinate audiences, making Pulsar an eagerly anticipated addition to their discography.

Review: A to-the-T emulation of a classic coldwave/post-punk sound is heard on this debut album by La Nuit Je Mens, a duo split between the Parisian suburbs and southern Italy. Now based in Rome, the pair have come up with a proper synthoid slammer, commandeering a fleet of analogue machines, each member in their own independent wheelhouse. Both artists take up vocals, exploring such tragicomic themes as the slow decline of the clubbing scene and clandestine goings-on in the nostal-chic European underground scene, marking out a sordid subconscious below ostensibly blank progressions. Huge degrees of texture, harmonic range and dynamism are packed into these otherwise rawly armed recordings, with 'Posterite Du Soleil' in particular fitting an immensity of new wave gothic romance into a narrow four-instrument limitation.

Review: Surely your first thoughts seeing this album drop are what a shame it is that LCD Soundsystem no longer crank out the tunes. Happily, we shall always have their fine body of work to revert to in times of need and few albums could quench your thirst for punk-funk-infused indie-disco bangers than this live effort from 2010's Berlin Festival. It has a number of the cult US band's classics included such as a fine rendition of 'Daft Punk Is Playing In My House', the seminal 'Get Innocuous!' and one of our favourites, 'All My Friends'. A wonderful way to revisit the glory years of one of the best bands of the last 20 years.

Review: Leathers' debut album, Ultraviolet, helmed by Canadian musician and visual artist Shannon Hemmett, plunges listeners into a neon-lit world of synth-driven dream pop, darkwave, and shoegaze. Hemmett, who also plays keyboards for Actors, fully engages herself in every facet of this project, from crafting the music to designing the visual aesthetics. Ultraviolet offers a mix of new tracks and familiar hits, with 'Divine' standing out as a stellar example of what the album delivers. Hemmett's sharp lyrics, like "I demand your best behaviour / no, I won't ask you twice," are paired with infectious melodies, impressing longtime fans. Produced by Actors frontman Jason Corbett, Ultraviolet channels the brooding pop of Depeche Mode's classic albums like Black Celebration and Violator. While the album is rooted in synths and melodic immediacy, it carries a darker, moody undercurrent. Leathers' Ultraviolet is an impressive debut that showcases Hemmett's artistic vision, blending haunting soundscapes with striking visuals to create a cohesive and engaging album.

Review: New Zealand collective Leisure collides many different musical worlds on their genre-blurring sophomore album, genre-blurring. Soul, r&b, rock and pop all get taken in and worked into a lush sound defined by its experimental energy. There are several standout tracks like 'Money' and 'Feeling Free' that showcase their signature sun-soaked vocals and smooth grooves. Elsewhere, Twister brings a bold, modern take on funk, which has won over both fans and critics with 'On My Mind' a prime example of their boundless creativity and knack for warm textures and adventurous spirit. As such, it's a record that cements the group's place as contemporary innovators.

Review: Next up on AD93 is the debut collab between singer-songwriter Marlene Ribeiro (of drone-psychedelic band GNOD) and electronic producer Shackleton, together masquerading as Light Space Modulator. A ghost-tropical ramble through what can only be described as a deterritorial comedown forest, The Rising Wave amounts to a floral, melty eight-tracker, easing up on concept in favour of a loop-breaking, mangrovey musical mood. The improv psycho-echoes of GNOD are heard in full force here - with lead shocker 'These Things' provides an especially depth-swelling burier bass down below - but Shackleton's long-honed dubstep abstractions serve to focus the mix, keeping things as beatmatchable as they need be open-ended.

Review: Little Dragon - the pioneering Swedish four-piece fronted by enigmatic vocalist Yukimi Nagano, with multi-instrumentalists Hakan Wirenstarnd and Fredrik Wallin on keyboards and bass respectively, and Erik Bodin on drums and percussion - return with their sixth studio album, New Me, Same Us. After an impressive period of renown lasting almost two decades, this new record sounds like a moment of respite and a return to basics. "This album has been the most collaborative for us yet." they explain, "which might sound weird considering we've been making music together for all these years, but we worked hard at being honest, finding the courage to let go of our egos and be pieces of something bigger." This entailed total self-production in a long-term home studio built in Gothenburg, Sweden, as well as an impressively stripped-back sound, towing lullabies such as 'Where You Belong' and 'New Fiction', which both reassure and rouse at the same time.

Review: .The last time we fell in love with Kedr Livansky it was October 2021 and the world was looking up. Lockdowns were over, and Liminal Soul brought us a celebratory embrace rooted in dance music and post-club night warmth. "Trance-tipped, heart-on-sleeve dance music that's never shy and still always chilled out enough to sit back and contemplate," we said at the time. Myrtus Myth is a very different thing altogether, but thankfully feels no less optimistic. Definitely sitting closer to pop, a kind of soft-yacht-rock, electronic-jazz-chill, and beach bar downtempo compared with the dance floors we were so keen to revisit three years ago, a few things have survived - all of them wonderful deep. Another stunner, to put all that another way.

Review: Eric Luttrell's Life at Full Speed via Anjunadeep, features his signature blend of indie-laced house music, characterised by uplifting melodies, intricate synths, and infectious grooves. Written over two years, the album reflects a new chapter for Luttrell, inspired by his experience of becoming a father. The album's 13 meticulously crafted tracks embody a warm and uplifting vibe. Lead single 'Make U Happy' stands out with its playful piano, signature synths, and catchy top line, delivering an irresistible summer anthem. Tracks like 'When I First Met You' and 'Go' feature Luttrell's own vocals, adding a personal touch to his productions. Collaborations also shine, with Canadian artist Molly Moonwater enhancing the euphoric tone of 'Something Right.' Previously released singles 'Sunshine,' 'Space,' and 'Sunrise Song' have already garnered acclaim, setting the tone for the album. Life at Full Speed promises to delight listeners with its melodic productions and engaging vocal moments.