Heavenly 黑胶唱片和CD

Review: Not named after the notorious-famous Berlin techno institution Tresor, but instead taking its name from 'treasure' in Cornish, Gwenno presents her third full-length studio album, largely written in St. Ives, with most of the words Cornish, too. If that sounds pretty adventurous, then wait until you hear the tracks themselves, which benefit from handiwork by collaborator and friend Rhys Edwards, who is also credited with production of the record.

Introduction over, this is a wildly diverse and spectacularly different album. At times things feel haunting, almost choral. In other moments, we're in a 1960s-hued pop-y place, while work like 'Ardamm' seems born amid the dark room chug of underground goth post punk disco. Overall, it's certainly the artist's most spectacularly idea-filled outing, ensuring nobody is going to forget about it in a hurry.

Review: Baxter Dury has been making superbly loose and laidback sounds for more than 20 years now. Here, Mr Maserati collects some of his famously idiosyncratic sounds from across that long career with plenty of comedown disco sounds and deep, rumbling basslines. There is plenty of wry humour and musical sweetness within the material which is taken from Baxter's six long players. Says the artist, "It's a kind of provincial nod to the music I got into during lockdown because my son was playing it - Frank Ocean, Tyler the Creator and Kendrick Lamar."

Review: If elements of Saint Etienne's wonderfully nostalgic and evocative tenth album, I've Been Trying To Tell You, seem familiar, it's because the band deliberately chose to make use of sounds and samples previously utilised during their 1997-2001 halcyon period. Given that the album arrives 30 years after their acclaimed debut, Foxbase Alpha, it's a smart move. If you love the band's particularly whimsical, atmospheric sound - and who doesn't - you'll immediately feel right at home. Sitting somewhere between dream pop and Balearica with occasional nods to house and more experimental electronic sounds, it's a gorgeously loved-up affair with memorable vocal numbers (where Sarah Cracknell's singing sounds as magical as ever) being joined by equally as inspired instrumentals.

Review: Although it didn't make huge waves commercially on its initial release in the early 90s, East Village's sole album, Drop Out, has long been considered a cult classic by observers of British indie music in the pre-Britpop era. Listening back three decades on, it's easy to see why. The band's sound was simultaneously nostalgic and contemporary, combining wide-eyed late 60s psychedelic pop flavours, minor chord-heavy 80s alternative jangliness and nods to soul-inspired Mod stompers with the distinctively loose, funky and loved-up MDMA-pop so beloved of indie bands at the turn of the 90s. This anniversary reissue does a great job in celebrating both band and album, with the original ten-track set coming with a bonus disc of singles and alternative versions. Throw in on-point sleeve notes by Jon Savage and you have an irresistible package.

Review: Brazilian jazz trio Caixa Cubo are one of the modern scene's most acclaimed outfits. Their latest album arrives in Europe via Heavenly Recordings and it has a sound to match. Made up of Henrique Gomide on keys, Joao Fideles on drums and Noa Stroeter on bass, the group has been awarded scholarships to study at the Royal Conservatory of The Hague, Netherlands so spends plenty of time over in Europe as well as back home. Thankfully though, they embrace the rich musical traditions of their home land and fuse elements of Azymuth with darker moods with new school greats like Yussef Kamael to make for a record full of both highs and lows, intense grooves and more laidback tunes.

Review: Are Working Men's Club the best band to have emerged from northern England in the past decade? We'd say there's a very, very good chance. Catch them live on stage and Sydney Minsky-Sargeant, Liam Ogburn, Hannah Cobb and Mairead O'Connor are utterly captivating, and their combination of post punk, rock, electronica, and acid house transfers very well onto record too. Their DJ sets, for which 'Syd' leads the charge, are also nothing short of quality. Informed by genre-less masters such as Andrew Weatherall, Ivan Smagghe and Erol Alkan, as this latest Megamix goes to show, the idea is to create these deeply immersive cosmic soundscapes that aim directly for the dance floor, taking phrases and sounds from their songs, reworking, rethinking and rearranging them into something fresh and high energy. Impossible not to make an impact.