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Review: "400, 10" marbled pink, hand stamped, individually numbered records, single press only."

Review: Get unstuck with these two delicious refixes from Unglued's debut 2021 album Interplanetary Radio as two of the most highly respected beat carvers apply their scalpels to one of Hospital's most exciting new-generation stars. The ravey 'Total XTC' is perfect fodder for Exit's Fixate as he winds up the 4x4s and laces it with his own special hardcore essence. The super sweet soul of 'Way Back When' is also a perfect fit for its remixer as Halogenix brings a whole new hazy shade to the dreamy vibes. Far out.

Review: Entering his fourth decade of service it's probably fair to call Andy Bell - guitarist with Ride, Oasis bassist and an increasingly renowned solo artist - an indie icon and round legend. After an EP of covers of tunes that inspired his last album this month, 'The Grounding Process' features four stripped down versions of tracks from 'Flicker'. Bell says 'World of Echo' was written at the height of an obesession with Scouse indie/skifflers The La's, while 'She Calls The Tune' was penned on tour wioth Oasis in 1999, particularly dear to Bell as it ended a long period of writer's block.

Review: Ride guitarist and songwriter Andy Bell drops this blue-splattered 10" with covers and acoustic versions of tunes that are said to have inspired his last album Flicker, which was released on Sonic Cathedral to great acclaim back in February. It is one of three such EPs and this one features an opening track written by Yoko Ono, a second cut by Bert Jansch, John Renbourn, Danny Thompson, Terry Cox and Jacqui McShee, one by Raymond Douglas Davies and a closer by the late, great Arthur Russell. He brings his unique alternative and indie perspective to the originals and they serve as a great backstory and accompanying listen to the aforementioned album.

Review: Randy's Vintage Dub Selection originally came up as a collection of dub versions of classic reggae cuts from the legendary Randy's Studio 17 in Kingston, Jamaica. The likes of King Tubby, Errol Thompson, Lee Perry, you name it, all recorded there, making it a veritable treasure-trove of dub history. Now comes a new 7" paying tribute to the Studio via the Randy's-adjacent Gary Hall-run label - Jamaican Recordings. The A-side here is a rare dub cut to 'Natty Dread Ah No Mickey Mouse', which was itself a cut to 'Natty Dread Won't Get A Witness', over the classic Bangarang rhythm. Meanwhile, the B spans two versions: 'Dub Feeling', recorded in 1969 and a dub of Slim Smith's 'This Feeling', and 'It's A Dubbing Lie', which reworks Ernest Wilson's 'It's No Lie', also from the very same year.

Review: Breakbeat maestro Hooverian Blur returns for Triple Menace, an EP which, as the title suggests, spans choppy breaks and dastardly bleeps-and-bloops for a 2HKO wielding a stylistic drum & bass greatsword. A singular 10" record houses these twin audio-imps, with the titular 'Triple Menace' occupying older-skool junglist territories, and the latter bringing things forward in time to a future-soundsy rave minimalizer.

Review: Sleeper man Alex Fox debuted the GRAMZ alias earlier in the year via a two-track 12" on Sentry Records built around paranoid sonic textures, serious bass-weight and rolling 140 BPM beats. For this 10" outing on Crucial, Fox has taken a deeper approach, ratcheting up the smoky atmosphere while retaining sizeable low-end pressure. "Joken" and flipside "Get Them Bags" are hazy, ultra-deep dubstep workouts, with both doffing a cap towards hip-hop and grime (check out the manipulated MC vocal samples on the latter, in particular), as well as the crackling sonic textures of Burial. "Joken" rolls along nicely while remaining pleasingly subdued, while "Get Them Bags" has a little more sonic strut. Both, though, are excellent.

Review: Freddie McKay's classic rocksteady track 'Going' hears a reissue on Jamaican Recordings, the very same label that first released in back in 2004. A sad rumination on death and freedom, we hear McKay croon through a ghostly spring reverb and an sprightly rhythm section, as he considers the "moon in the sky" and "the birds in the trees" as vessels for his own emancipation. So too comes the rare instrumental version on the B-side, though this reissue skips the original's shared side with Ronnie Davis, focusing solely on McKay.