MUSIC

Matthew Halsall unveils new band and announces ‘Salute to the Sun’ his new album on Gondwana Records Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations. Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester’s finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall’s bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature. “I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba”. Salute to the Sun features lush wholly improvised tunes inspired by ambient rainforest and jungle field recordings, deeply soulful tunes built around hypnotic harp and kalimba patterns, deep Strata-East inspired spiritual jazz grooves and some of Halsall’s most beautiful playing and inspiring healing melodies yet recorded. The album was recorded at the band’s weekly sessions, using Halsall’s own recording set-up, giving the recordings a relaxed vibe and unforced energy that really lets the music breath. The album is also very much a family affair as Halsall’s brother Daniel Halsall, artistic director of Gondwana Records, was an important presence at the sessions and co-produced the album. It is also his memorable artwork that adorns the cover of Salute to the Sun, an album beautifully designed by legendary designer Ian Anderson of The Designers Republic, who also created the covers for the recent archival releases Oneness, Sending My Love and Colour Yes and is one of Halsall’s favourite designers. Together Daniel Halsall and Ian Anderson have designed all of Matthew’s seven albums to date, so it felt extra-special to bring them together for, Salute to the Sun, an album that Halsall was determined to present in the very best way possible. The album was mixed with another long-time collaborator, George Atkins at 80 Hertz in Manchester, who works tirelessly with Halsall to perfect the sound and was mastered by noted engineer Peter Beckmann who brings an added depth to the sound specially around the bass notes as well as Halsall’s trumpet. The magnificent double vinyl was cut as a Half Speed master by Barry Grint at Alchemy Mastering for the best possible analogue experience. The result is arguably Halsall’s most beautiful and complete recording to date, playful, charming and imbued with the warmth of the sun and the energy of life.

Undisputed grime heavyweight and sublow architect Jon E Cash is spotlighted on an overdue retrospective hustling rare plates back on vinyl for 1st time in decades - utterly essential tackle for UK ‘nuum fiends on the line from jungle to UKG, grime and dubstep. A serious VIP for Sneaker Social Club and the grime scene at large, ’SUBLOW’ scrolls back a quarter century to grime’s earliest days - before it even had a name - when artists such as Jon E Cash, Jammer, and Wiley were reshaping prevailing UKG styles and patterns in their own image, coming out with something rudely altered in translation - or by their technical limitations. While the latter melded Jamaican sound system inspirations of dancehall and jungle into their grimy prototypes, Jon E Cash would bring a ruggeder swerve, carried over from his early ‘90s days as part of the pivotal Britcore hip hop sound with Construction, and prevailing traces of later ’90s R&B and D&B, to his take on the 140bpm framework, with the exaggerated bass levels of his productions, and their bashy drums, bestowing the sound its mantle, SUBLOW, and soon recognised as a whole subgenre in its own right. These are sacred plates for grime, a key part of its DNA, and Sneaker Social Club are doing the Lord’s work by saving you a month’s rent in Zone 3 if you were to pick them up individually. All from the fascinating interzone 2000-2004, when the sound was shaped as an ecology of pirate radio, white labels, and raves, it’s burstign at the seams with legendary gear from the murky steez of ‘Hoods Up’ thru the NSFW intro of his absolute steamer ‘Kettle’, brukking out the digi-dub style horns on ‘War’ and ‘Battle’, or ramping R&B with speedy G pressure on ‘All About the Sex’, not to mention his Timba-turned-horny Terminator turn ’Spanish Fly (V.I.P.).’ If you ask us, it’s one of the hardest reissues/compilations of 2025, bar none, and a strong example of how much perceptions of grime have changed over the decades, from outlaw genre to something to be fetishised, archived, admired as distinguished cultural artefact, rather than feared and legislated against.

Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz. A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match. As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix. While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno. Opening track Dynamic Duo is a 4/4 stepper bomb – with comedic samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding. The flip returns to the more traditional Dub Specialists vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.

Street Druid merges acoustic, manipulated and electronic sound using saxophone, synth, voice, guitars & drum machine, and features drum kit from Mercury-nominated artist, Moses Boyd.

It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.

A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia's rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.

RSD exclusive, fully licensed ! Never reissued and long lost, this UK dub foundation album Addis Rockers is the brainchild of Tony Addis from the legendary London studio “Addis Ababa.” This hidden gem helped define dub music in the 1980s. Remastered and featuring the original cover design.

The opening 12” salvo from the Ital Counselor Record Stable has arrived. The fruits of a long bubbling idea to bring back from the sands of time the moral thrust and crystalline conviction of the mighty Martin Luther King Jr. in a dubwise style. In a time like now as the individualistic ethos of the Century of the Self arrives at its logical end game we call all massive and crew to sit tight and listen keenly… A double A-side bass thriller with a message for the ages, NOT ENOUGH, features the musical legacy of two dear friends and two of our favorite contributors to the global reggae sound system community. JAH WARRIOR meets RSD (Rob Smith)…Paired together for the first time ever in a back-to-back dub conference… Side A sees JAH WARRIOR bring the weight and force we have all come to expect from Steve Mosco’s 25 plus year body of work. Like sheering frequencies bouncing off the brutalist architecture of our modern urban landscapes, his rendition is direct and to the point. MLK’s words lay on top of a horns man stepper ready built to rattle speaker boxes outernationally. Brace yourself… Side AA features a re-imagining of Jah Warrior’s cut by the stalwart of bass culture Rob Smith under the guise of his RSD moniker. All dubb’ers will recognize the name. From Smith & Mighty, More Rockers and Blue & Red Rob has influenced a generation of fans, sound system operators, and selectors worldwide. This Re-Rub keeps up the quality, the subtly and sub that we have come to appreciate from his body of work.

Label co-founder Conrad Pack returns to SELN with what is in essence a Dub EP, but so much more. The failsafe formula of stepping percussion and “ital” bass lean on a familiar soundsystem nature with engulfing pads finishing the job to evoke a true BIG SMOKE FEELING. Although the melody itself wouldn’t sound out of place in a UK Drill number the song overall still touches on DIY ++ sonics (yes it’s as good as it sounds if not better). Recorded during the height of the Scram era, masterminded by Leeway (Guy Gormley), and hosted by the late soundsystem luminary Julian Fairshare at Ormside Projects, the influences are crystal clear; Steppers-esq, leaning heavily on London’s musical legacy past and present, whilst still pushing for SOMETHING NEW. Praise EP will be available as a limited edition Vinyl (edition of 200) and digital download. You can catch Pack performing a special live set at our forthcoming 'late night event’ at Ormside Projects on 4th October alongside Kerrie, Jah Vibemaster & Sam Clarke.

LP version on CLEAR vinyl in PVC sleeve with double-sided printed clear plastic insert. CD version is the mini replica of the vinyl version, in slim plastic case with clear insert.

“Love Will Tear Us Apart” should have been the band’s most shining moment…instead it became their tragic swan song. Released just a month after frontman Ian Curtis’ heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy.

This special edition LP features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the “radio version”) and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time).

The remaining tracks include “These Days” (which appeared on the original “Love Will Tear Us Apart” single), along with “Transmission” (their debut single released in 1979) and “Atmosphere” (originally released as a France-only single) in 1980.

Cruddiest nightglyde steez by the mysterious Sister Marion, voiced by Mass, for John T. Gast’s 5 Gate Temple A must check for anyone feeling Dean Blunt’s circle or Tribe of Colin, ‘B Safe’ scries early ‘10s road rap styles thru JTG’s murky crystal ball with Mass seemingly rapping from the other end of a long corridor over a blend of dungeon synth vamps, road rap/proto-UK drill and dread soundsystem rumbles, revealed in starkest terms on the version.

An air of ancient ritualism cloaks Modern Love’s midnight meeting between UK producer MOBBS and French-Egyptian spellcaster Susu Laroche, carving out a channel between hexed trip hop and shoegaze that’s one part DJ Screw, one part MBV, operating within a long shadow of influence cast by Curve, Leila, Cocteau Twins, Nearly God.

Clasping chiral energies on their debut collab, MOBBS brings a history spanning shadowy production work for big name artists to the grimly stylised vein of performance art and musick explored by Susu Laroche, an Egyptian-French with strong binds to chthonic contemporary London. 

Their maiden sacrifice heightens the senses to blends of monotonic, sandalwood scented incantations and carpet-burned downbeats swept in slurred dub. Songs are subtly variegated in tone to spell out shifting plays of light evoking bedsit antechambers and warehouse innards lit by iPhone candle or extractor hood and emergency light bulbs on their last lumens. 

It's music that's as elaborately serrated and blemished as early MBV, but positioned in a vastly different cultural landscape, drawing from hip-hop, drone, psych and basement noise. The pair’s range of cultural obsessions maintains a precarious balance between shadowy histories and an asphyxiating present; all too often, when the past is projected it's thru a mollifying, nostalgic lens, so their critical, prudent hybrid sound is a vital, chilling corrective.

From the bell-ringing, chain-rattle jag of ‘Throne’ thru the sleepwalker drift of ‘Roam’, and concrete plangency of ‘Forest’, the marriage of MOBBS’ illusive textures with Laroche’s feel for analog image and film (as evinced in her art for the likes of Blackhaine and Mica Levi) imprints their sound in gauzy layers that leave fleeting impressions on the mind’s eye. At their heaviest, Laroche’s arcane declarations descend in impressive enactments, undressing the excesses of over-glossed trip hop to reveal and revel in the sound at its starkest, sexiest, for new waves of washed up souls.
 

You Never End is the third album from Moin (Valentina Magaletti, Tom Halstead and Joe Andrews) out via AD 93 on the 25th October.
This record marks Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.

The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.

Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.

The vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine. 

Isle of Jura is proud to present the first reissue of 1992 Digi Dub heater ‘Slow Down’ by Villette Holmes. Produced by the late Cedrica Anthony Hamilton, better known as Soljie, this release captures a master at work. A veteran engineer at the iconic Channel One Recording Studio, Soljie’s innovative approach at the mixing desk made him a giant of the reggae and dancehall scenes. He was the sonic architect behind many hits of the era, notably serving as the mixing engineer for Shabba Ranks’ seminal Grammy winning albums As Raw As Ever and Xtra Naked. In 1990, he launched his eponymous label, Soljie Records, which became a vehicle for his own distinct productions. ‘Slow Down’ is a quintessential Digi Dub production, balancing a heavy, driving rhythm with strong melodic hooks and a dreamy crossover feel that transcends the genre. Licensed from Soljie’s son, Chioke Hamilton, this reissue comprises the original version and Dub, alongside a previously unreleased Extended version. Pressed on 140g vinyl and housed in a striking 3mm spine, full colour disco sleeve designed by Bradley Pinkerton.

Bella Union are delighted to announce the release of The Fall's ‘Grotesque (After The Gramme) Live!’ - the latest release from POPSTOCK records, which builds on the success of the critically acclaimed ‘Slates Live!’. Sourced, mastered and designed by the musicians who played on the original LP, and with insightful liner notes by Henry Rollins, ‘Grotesque Live’ presents fascinating versions of all the seminal 1980 album tracks. Available on limited edition vinyl, CD and cassette on 25th October.

Double heavy 1980 dub showdown by two London sound system titans, engineered by Prince Jammy and featuring Mikey Dread, Scully, Barry Brown and Johnny Osbourne on board.

Hard, or at least spenny, to find OGs 2nd hand, ‘Dub Confrontation Shaka (Warrior) Vs Fatman (Killer)’ is understandably sought-after as a shining example of pure dub tekkerz from its golden era. Ken ‘Fatman’ Gordon’s A-side renders the rhythms and vocals with coolly measured, judicious boing and 3D plangency, hitting hardest on the effortless traction of ‘Jahovian Dub’, whilst Jah Shaka weighs in a killer B-side of rhythms re-arranged with additional, signature drum lines and swirling sirens, as on the deadly ‘Dreader Dub’, a skeletally stark ‘College Dub’ and the simmering zinger ‘Afrika Dub’.

Tending to his crop with dreams of rotation, Bruce sows and scythes four new grains in the porky mill. Of this strange fruit, that further explores his increasingly familiar, hyper-real and sonically surreal work within this current “movement,” he finds his foothold once more in a wild world intensity: fear and fury grappled in equal measure.

What's more, in celebration of the plentiful harvest thus far, (let alone in the interest of seed diversity), Bruce invites four fellow reapers to the farm, offering their recipe from the spoils of the label's yield:

Vancouver based Brit-abroad, dj_2button pulls apart 'The Hand,' with his 'Accidental Mood Mix,' to be reborn as an Odyssian 13 minute stomper: "a fight of emotions, of light and dark; in quiet protest to the incessant fear mongering that slowly numbs us on a global scale." Balearic shores can be seen glimmering in the distance, whilst you are dragged by part man part (very horny) bull into the depths of dancefloor madness.

re:ni proves she is the captain of her own ship as sweet SSRI numbness billows in the sheets and fraying, dubwise halyards tether and tear through her devilishly elegant 'sertraline queen mix'. polyrhythms plotted and percussion plundered; the vocal from 'Golden Water Queen' sounds oh so sweet in the claws of its new Regina.

Hotly titted deep house reviver, fka boursin empties clips with their bubblegum 'boomkat mix,' of 'The Price,' swivelling the original's brash and bawdy bonce, to face a 120 reality we all need to wake up and start sniffing. Sprinkled with trauma on an icing of a bassline more than a little rood, boursin is packing enough cake for the whole function to take home in (dreadful) goody bags (and even allowed compression in the mastering - mental).

Last and indubitably not least, from lying somewhat dormant in the depths of UK dance music legend, none other than flippin' Untold (!?) rises to seal the release with typically megalithic prowess. Proving he was just resting his eyes for a bit, his 'A1 Mirabelle Mix,' weaves and whips an otherworldly beauty, technically tantalising 'Dham's Jam' in adornments both sour and sweet. It's nothing short of a cloaks and daggers banger, primed for the darkest of dancefloor cosmic moments, and serving as a little less-than-warm-reminder that Untold’s presence in the world of dance music is crucial as ever.

Frankly, if you couldn't tell from all the verbose waffle, they have all absolutely smashed and finessed it: they were all approached after expressing a real resonance from the previous releases and it's such an honour to have them and their fantastic visions on the label.

Available digitally or on high quality cassette, the final chapter of the Poorly Knit's first act has been woven whimsically into the fraying folds.

David Lewis was hardly eighteen years old when he and two friends, bassist Nigel Smith and drummer Gordon Barton uprooted themselves from Belfast and set their sites on the Big Smoke. With the move came a record deal with CBS and a rebrand from The Method to Andwella’s Dream. Now known as a cult psychedelic classic, their first and only LP under their full title Love & Poetry touched on just about every genre that was hip at the time, cross-pollinating folk, jazz, progressive rock, united by Lewis’s brilliant songwriting in the form of kaleidoscopic instrumentation and imagery.

Fully licensed, all tracks remastered ! Earth Running, originally released in 1979 on the Tappa's Stars label, can be considered the Jamaican's toaster's maturity album. Lyrics here are rooted in the "ghetto life" as always. A work with an international flavour: On Side B, two convincing dance tracks, the anthemic funkfest "Freak" and "One More Chance", often championed by DJs in the following years. A work that explored new territories, a mandatory re-issue for all authentic reggae lovers.

This is a critically important work in dub history by Prince Far I & The Arabs, originally released in 1978. The recording features performances centered on the Roots Radics rhythm section, recorded in Jamaica and subsequently overdubbed in the UK. The mixing was handled by key figures in UK dub, including Adrian Sherwood, Dennis Bovell, and Mark Lusardi. The result is a clean yet profound dub album that successfully merges Prince Far I's signature sound with the innovative UK aesthetic.

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch.

Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Deeeeeep from the Ariwa archives... all unreleased music on here. Sounding absolutely essential to us. Dates of production uknown at time of writing... The A Side is a Mad Professor produced version of Aisha's 'Give a Little Love', given the UK treatment. The Dub is a proper roller. Side B is the unheard African Message Dub (Parts 1& 2). Recordings ft Jah Shaka on bass, Norman Grant (Twinkle Brothers) on Drums, Sgt Pepper and Mad Professor on the desk. Masterful UK Dub from these key figures.... pulled out of nowhere.

Discover New Decade Of Dub by Mad Professor and Jah Shaka on Ariwa Sounds. A UK Dub collaboration from 1996, with Phasers set to stun. Musical and restrained throughout. TIP!

With a clutch of EPs under his belt spanning a wealth of pallets, Henzo narrows the focus on his debut studio album “The Poems We Write For Ourselves” - a culmination of persistent iterations over several years, distilling his sonic milieu into something that feels decidedly his own. The album proper is coupled with a debut live performance which reinterprets the tracks and splices them with omitted material from the time of writing - recorded in full in the intimate confines of Manchester’s growingly infamous Stage and Radio basement. Honing his craft in the shadows of Lancashire, Poems is an expansive reflection of the producer’s time spent away committing to the scope of an LP.

A thread of stratified sound design weaves throughout the record, but with a discerning dancefloor proclivity mostly prevalent. Cold opener “Noggin” riffs on noughties Raster-Noton a la Byetone rebuilt with fractal tear out DnB, with closer “Indulgence” following suit on a puckered plod of Dub Techno ambience. More club-focussed moments come in the form of “Rustica Slump” and “Blue Will...”, the former’s sickly sweet vocals resolved by the latter’s stoic UKG/Techno rudeness. “A Bouquet of Clumsy Words” channels mechanical shuffle with a stripped back 2/4 pulse whilst maintaining a firmly FWD>>energy alongside “Plant Your Roots In Me” on a similar vector - swapping out a straight kick pattern for a bludgeoning 808 assault on an early Hessle-indebted tip.

“Take Stock, Touch Grass” harks to golden era ClekClekBoom and Night Slugs with a bare bones kick and vocal motif, updating the formula with a tweaking lead line that places it firmly in the contemporary space. “Swell:Shrink” sings from the same sheet with a shrieking, space age wobble doing the heavy lifting, knocking the pace back to a shoulder-lean swagger on a slow fast conundrum Henzo has shown his flair for on previous releases.

The outliers to Henzo’s more known approach, “Worm Grunting” with Belfast’s Emby, an amalgamation of halfest time DnB and illest mannered Road Rap, plus “The Rest Is The Mess You Leave”, a starkly anti-retro Ghettotek endeavour, give grounds to the LP. Clearly rooted in the comfortable universe of the dancefloor, these tracks expand the producer’s realm into loftier heights as he graduates into long play land.

Moin follow their EOY-topping 'You Never End' with a pithy jazz-pilled appendix, bringing back poet Sophia Al-Maria and adding Ben Vince's circuitous horns to offset Valentina Magaletti's gummiest live rhythms. Next level biz, obvs - crucial listening whether you're into Slint, Tara Clerkin Trio, Mica Levi/Spresso, Bark Psychosis or Still House Plants.

Not exactly a continuation, 'Belly Up' is a fresh bite cooked from similar ingredients. Moin bent out the tabs last year on their third album, emulsifying the post-punk and hardcore oils that smeared their early plates with modish funk and disintegrated, industrial-strength noize. Joe Andrews, Tom Halstead and Valentina Magaletti cogitate over the same themes here, but train their senses on jazz, assembling brittle and mutable modernist shapes around impeccably springy live syncopations.

Raw, direct opener 'See' is a case in point; Qatari-American artist, writer and filmmaker Al-Maria's droll non sequiturs helped cement the aesthetic of 'You Never End' and make a welcome return, now inserted between Magaletti's sluggish marching band extemporisations and prolific collaborator Ben Vince's transcendent sax loops. Andrews and Halstead keep it restrained, tagging on deadened hardcore tangs and a nasal keyboard vamps that maps the London topography between 4Hero and Tirzah. Vince appears again on 'I'm Really Flagging (or I Trusted U)'; what sounds like a clip from the same ad-libbed workout surges next to flimsy synths and cheeky samples. It plays like a sequel, still rallying around Magaletti's exaggerated, tom-heavy patter, suggesting alternate routes to the finale.

The boxy, no-wave curdled funk that characterized 'You Never End' is reheated on 'X.U.Y.' and evaporated into a quiescent mantra, but Moin's most ambrosian moments appear when they reduce the heat. 'You Leave Me Breathless' sounds as if it's a loose, unplanned rehearsal, with AutoTuned crows melting over a long, limber patchwork of paradiddles from Magaletti. And the trio don't completely ignore the rave backroom, banging together grungy Akai-coruscated samples and 808 State synths on the greyscale 'I Don't Know Where To Look'. As always, they don't exactly boot us back to the '90s - Moin make us wonder what it might have sounded like if there was access to a different array of technology.

Awesome compilation of rare dub versions of Amy Winehouse songs

Tracklist :

Side A

Valerie Dub
Dubber Than Me
You Know I'm No Dub
Dub & Mr. Jones
Dub To Black
Redub
Will You Still Dub Me Tomorrow
Wake Dub Alone

Side B

Dub The Box
Love Is A Dubbing Game
You Know I'm No Dub - Take 2
Dub To Black - Take 2
Will You Still Dub Me Tomorrow - Take 2
Dub The Box - Take 2
Love Is A Dubbing Game - Take 2
You Know I'm No Dub - Take 3