Young 黑胶唱片和CD

Review: Given the critical reception rightly afforded to Tahliah Barnett's superb debut album as FKA Twigs, it makes perfect sense for Young Turks to rustle up a swift reissue of FKA Twigs, the four track 12" that announced her to the pop music world last year. This EP was the first instance of Barnett's ethereal vocals weaved in amidst production work from Arca that was at times floating, others crushingly pressurised. Naturally the effects of the music are heightened when combined with Jesse Kanda's mind bending videos ("Water Me" especially) but late comers to the magic of Twigs will be all over this. Do check "Papi Pacify" as Arca is on some "Cry Me A River" era Timbalaand tip.

Review: The latest single from Jamie Smith's 2015 album In Colour, featuring The xx bandmate Romy Madley Croft, gets the remix treatment from a pretty stellar cast. Starting off, Hivern Discs boss John Talabot gets on board with his "Loud Synths Reconstruction" which definitely lives up to its name on this driving proggy take on the track. Ed Russell aka West Country bass techno auteur Tessela steps up and delivers a typically thumping and funked up rendition which is a real highlight on here. On the flip, Cologne's Barnt delivers yet another dark journey through the cosmic hole and the legendary Matthew Herbert offers us his take; sublime deep house and yet again; sampling everything but the kitchen sink!

Review: Indica Dubs and Kai Dub link up here for their second collaboration, which is the first release of the year for the label. It features the full flavour and futuristic stepper that is 'Elevation Dub', complete with wooden hits and Digital pads, warrior chords and a nice sleek aesthetic. 'Higher Dub' then flip sit into a more heady affair with plenty of mad studio effects and endless reverb, floating toms and sizzled pads. These triumphant tunes are primed and ready for big plays on huge sound systems.

Review: Catharsis runs through the debut solo album from Oliver Sim, best known to most of us as the bassist-singer from The XX. A record that's about pulling back the curtain to reveal who he really is - surprising, considering The XX's output always felt heart-on-sleeve - even the vocal delivery feels more honest, less whispered, no longer hidden beneath effects and subtle textures.

Hideous Bastard is in many ways also less produced, more human. And by that we mean theatric, dramatic, packed with artistic ideas, and the feeling of someone coming of age to finally feel comfortable in their own skin letting us in. Inventive to the last, it's forward thinking alternative electronic-pop-rock-indie fare but, more significantly, it's an act of sharing - from his own HIV diagnosis at 17 (the first time he has publicly discussed the illness) to thoughts about the industry and society itself.