Back catalogue:

Review: Croatian producer Umbo makes a raucous return to Breakbeat Paradise with this two-tracker of throwback funk edits. A-side 'No Sugar' is a no-nonsense breakbeat soul cut, filtering vintage vocal hooks through crisp drums and rubbery basslines. On the flip, 'Saoco Root' cranks the tempo and energy, fusing jazzy brass, hype vocals and Beastie Boys swagger into a fast-cutting party tool. A continuation of BBP's long-running Toxic Funk series, this latest volume slots right into the label's wheelhouse: dusty, high-energy edits with bite.

Review: While he's not put out many re-edits of late, Luke Una has serious scalpel-job pedigree. Back in the 2000s, he and then DJ partner Justin Crawford released a series of largely disco-focused edit EPs on the hush-hush Electrik Souls series. Here he returns to the format with the first in a series of reworks focused on his popular, dusty-fingered E Soul Cultura project. He begins by teasing out and lightly toughening up a killer Caribbean cut from the 1990s, Ella Andall's 'My Spirit Is Music' - an insanely rare and hard to find number that the Sheffield-born DJ has naturally tweaked sensitively. Elsewhere, he emphasises the 'proto-house dub' feel of Slick Mission's early UK house number 'Time's Up', before going even dubbed-out and more percussive on Manu Dibango's lesser-known cover of Latin disco classic 'Jingo'.

Review: Razor-N-Tape's white label series serves up its first-ever various artists collection here, and it opens with Windy City master Glenn Underground. His 'Happy House' is a joyous disco stomper with florid strings and lung-busting vocals. Rahaan adds his own edit to 'Be Cool', which is a jazzy dancer with magnificent guitar work and brassy horns. 'Hot Damn' (JKriv edit) keeps the love flowing with funky disco house energy and an air of hands in the air celebration and The Patchouli Brothers flip 'Love Explosion' into a strident, front foot wafered and pumping disco funker with gorgeous vocals. There I so much sunshine and joy in these tunes that they melt even the stoniest of hearts.

Review: A new-ish name, but Obscure Shape and classically trained musician Conrad - the two halves of Urban CC - are already experts at blending high-energy techno with deep, playful textures. Side-A kicks off with 'Mana', a nicely paced, uptempo techno weapon that channels a vintage 90s spirit, full of raw drive and momentum. 'Azul' follows, switching gears into a bouncier, tech house-flavored groove. Deep basslines anchor the track while playful, urban-tinged sound effects add a fresh, streetwise character. On Side-B, label head Traumer steps in with a remix of 'Mana', reimagining the original into a deeper, more melodic journey. Rich chords flow over a hypnotic groove making this a sophisticated and atmospheric alternative to the more direct original. Finally, 'Kredo' closes the EP on a high note i a sleek and classy techno cut. Its clean production, hazy euphoria and warm atmosphere create the perfect vibe for those special late-night or early-morning moments. A dynamic and well-rounded EP that shows both a respect for techno's roots and a clear creative vision for where it can go next.

Review: Jakarta's Uwalmassa refine their singular language once again, deepening their reconstruction of Indonesian musical heritage with four stark, ritualistic pieces. 'Untitled 11' spirals through halting, dust-coated percussion loops, its groove collapsing in and out of time like a broken ceremony. 'Untitled 12' stretches further into abstraction, its dry, rattling timbres evoking brittle reeds and scorched earth. On the flip, 'Untitled 13' locks into a hypnotic, gamelan-inflected rhythm that sounds hand-played but digitally deconstructed, while 'Untitled 14' closes with detuned melodies and a low-slung bassline that suggests ancient dance music refracted through modernist minimalism. Each track seems built to evoke memory without nostalgiaideeply rooted yet future-facing. Their approach continues to resist both club functionality and ethnographic cliche, landing instead in a realm entirely of their own.

Review: Kali Uchis has always had a gift for building dreamy, insular worlds, but her fifth studio album feels like a quiet reckoning. She channels existential uncertainty into lush, open-hearted pop i a mix of glittery r&b, woozy soul, and downcast slow jams that seem to float between time zones. Written in the aftermath of what she's described as a "life-altering" experience, there's a newfound stillness here. 'Sunshine & Rain...' is all candlelight and quiet yearning, its soft-focus production the perfect backdrop for a voice that's more hushed and inward than ever. 'ILYSMIH' (short for "I love you so much it hurts") doubles down on vulnerability, with lyrics that feel read straight from a diary, tangled up in delay-drenched strings and pillowy keys. There's punchier stuff too i 'Territorial' and 'Daggers!' lean towards funk and psychedelia, but the tempo never really rises. Instead, the energy folds inwards. 'Silk Lingerie,' 'Lose My Cool,' and 'It's Just Us' feel like whispered confessions, suspended between dream and memory. Across all 14 tracks, there's a strong sense of intimacy and solitude: of letters written and maybe never sent, of a person quietly finding the strength to stay soft in a world that rarely offers the same back.

Review: Since appearing on Gorillaz fifth album, Humanz, in 2017, Kali Uchis has been on an upward trajectory. Now a major international star with a quartet of major label backed solo albums to her name, the Colombian American rapper and singer arrives at album number five, Sincerely, at the peak of her powers. Inspired in part by an unexplained "life-altering event", the set's lyrics explore "the complexities of life" and her desire to "find joy in life despite of the world". In truth, it's more joy than pain, with Uchis gravitating towards head-nodding, string-laden grooves, r&b-influenced pop, guitar-laden trip-hop torch songs, and immersive, dream-like soundscapes.

Review: Originally released in 1999 and now reissued, Beaucoup Fish captures UK techno icons Underworld at their peak popularity. Karl Hyde, Rick Smith and Darren Emerson were just coming off their Trainspotting movie fame due to their legendary track 'Born Slippy'. Following Dubnobasswithmyheadman and Second Toughest in the Infants, this record feels heavier and more restless, mirroring their ambivalence toward their growing profile. Where their previous albums flowed like introspective night drives, Beaucoup Fish often barrels forward with full-throttle energy. Tracks like 'Push Upstairs' and 'Kittens' tear through at blistering tempos, merging techno heft with psychedelic texture. 'Shudder / King of Snake' is the album's pounding centerpiece, a kinetic beast built on a mutated 'I Feel Love' bassline and layers of frenetic percussion. Yet it's on 'Jumbo' and 'Cups' that Underworld tap into something deeper, more elegant and melancholic for solitary moments on packed dance floors. Hyde's cryptic, associative lyricism are half preacher, half poet that add a compelling edge throughout. His stream-of-consciousness delivery turning even the most muscular tracks are very introspective. Beaucoup Fish may reflect a band conflicted about their identity, but it's also Underworld at their most refined, striking a potent balance between euphoria and alienation, bombast and subtlety. It remains a hypnotic artifact of late-90s rave culture, vivid in both its unease and its ecstasy.

Review: British heavyweights Underworld delivered one of the 90s' most enduring dance albums with their second LPivisionary, sprawling, and wired with tension. This 2025 reissue does it justice, pressed onto heavyweight vinyl with a half-speed cut that gives its deep, hypnotic sonics fresh bite. From the moment 'Juanita : Kiteless : To Dream Of Love' opens with glitchy insistence and locked grooves, it's clear how ahead of its time this was. The glitch-techno swirl of 'Banstyle/Sappy's Curry' and the growling 'Rowla' nod to Sheffield and Detroit in equal measure, while 'Pearl's Girl' pulses with breakbeat aggression and warped vocals, its grit sharpened here by the remaster. 'Confusion the Waitress' and 'Air Towel' show the band at their most meditative, layering ambience and submerged breaks into something closer to sound design than club tool. Even 'Blueski' and 'Stagger'ishorter, sketch-like piecesifeel essential to the album's industrial-sublime mood. Still fiercely modern, still haunted, still euphoric. An artefact of the past that belongs squarely in the now.

Review: This 2025 reissue of the British duo's 1995 breakthrough offering captures the raw energy and genre-blending brilliance that made it an instant classic. Still revered for its fusion of techno, house, and ambient with a distinctly industrial edge, the album's resonance continues to define electronic music today. Tracks like 'Dark & Long' and 'Surfboy' showcase their ability to create expansive, atmospheric soundscapes that are both tough and emotive. The low-end drive of 'Cowgirl' and the serene tones of 'River of Bass' reflect the duo's mastery in blending dancefloor-ready beats with intricate textures. Hailing from the UK, the duo pushed boundaries with their dark, melodic sensibility, crafting a sound that remains influential. Their influence on modern electronic music is undeniable, and this reissue serves as a vital reminder of how they redefined the genre back in the 90s, keeping the core of their vision intact while inspiring new generations of listeners.

Review: Underworld's sixth LP A Hundred Days Off heard them wean their sound down to a finer but still full Brit-rave sound, not to mention a readiness on their part to break the charts compared to their earlier, yet by all means more esoteric, studio projects such as Dubnobasswithmyheadman. Praised by Uncut as a "beautiful and baffling enigma", the record gave birth to such wonders as 'Two Months Off', 'Trim', 'Ess Gee' and 'Dinosaur Adventure 3D', tracks whose long-form structures and brutalist trance ballistics would continue to prove lactic boons for the stylistic milking. Sheffield art collective The Designers Republic were commissioned to design the iconic balloon-head cover by label V2, also enshrining a spectacular modern art and modern music crossover in this ingenious record.

Review: After the chart-topping A Hundred Days Off (2002), what was to come next for the albums arm of Underworld, aka Karl Hyde and Rick Smith? Clearly, it was to be a return to gritty chillout rave schematics - now tapering into ambient dub and progressive - that defined their earliest works, in stark contrast to their mid noughties crowd electrolysers. Oblivion With Bells (2007) saw mixed critical receipt, the aesthetes among us referencing to the record's pull towards directionless absurdity (mirrored in track titles like 'Cuddle Bunny vs. The Celtic Villages'), but its nurturance of highlights like 'Crocodile' and 'Ring Road', and their increasing use of flamboyant post-rock theatrics onstage, still make this moment a stellar one in our books.

Review: First released in 2016, Underworld's Barbara Barbara, We Face A Shining Future returns in a 2025 reissue on nice heavyweight black vinyl that has been cut at half speed for optimal sound and housed in a double gatefold sleeve with added spine detailing. The album - the Essex duo's ninth - marked a creative rebirth for Karl Hyde and Rick Smith and features seven spontaneous, emotionally raw tracks born from strict studio sessions. From detuned basslines and celestial techno to lyrical monologues and off-world electronics, it's a typically expressive and genre-blending statement that stands proud alongside their celebrated classic albums and has aged well over the years.

Review: This 2025 reissue of the British electronic duo's 2010 release revisits a moment when their sound was at its most refined and expansive. Tracks like 'Bird 1' and 'Always Loved A Film' have an almost trance-like quality, drawing listeners into a rich web of pulsating rhythms and repetitive motifs that feel both hypnotic and unsettling. In contrast, songs like 'Diamond Jigsaw' and 'Moon In Water' offer moments of clarity, their crisp melodies and infectious hooks cutting through the layers of sound with a bright, shimmering energy. The duo's ability to shift between moods is strikingi'Hamburg Hotel' brings a brooding weight, while 'Between Stars' provides a lift, its airy textures pushing against the track's grounded pulse. This reissue feels less like nostalgia and more like a timely reminder of their ability to blend pop accessibility with experimental edge, marking their unique place in the electronic canon.

Review: Karl Hyde and Rick Smith continue to offer-up remastered CD reissues of gems from Underworld's vast back catalogue. Here they return to 1996's Second Toughest In The Infants, a set - co-produced with then third member Darren Emerson - which cemented their growing status as one of British electronic music's true headline attractions. While not as admired as its predecessor, it remains a fantastic full-length excursion - an inventive and frequently inspired collection of peak-time-ready epics that borrow liberally from progressive house, techno and spacey drum & bass (see 'Banstyle/Sappy's Curry'). It also contains a number of genuine stunners, not least the bustling 'Confusion The Waitress', the acid-fired insanity of 'Rawla', and the trance-inducing early morning hypnotism of 'Air Towel'.

Review: Recorded and released after the crossover success of 'Born Slippy [Nuxx]', Beaucoup Fish remains Underworld's most commercially successful album. The third and final set to be recorded with then third member Darren Emerson, it has fewer rough edges and in-your-face grooves than its predecessors whilst still retaining the band's rave-igniting sound of the 1990s. Now remastered and reissued on CD for the first time since 2017, it's a set that has aged well. For proof, check the woozy slipped deep house of 'Cups', the breakbeat-powered, acid-fired peak-time insanity of 'Shudder/King of Snake', the rushing release of 'Push Upstairs', the heady ambient bliss of 'Skym' and the drum & bass-influenced warmth of 'Something Like Mama'.