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Review: Lux Interior and Poison Ivy, of Cramps fame, team up to deliver Leather Jackets and Diesel Smoke, a whopping 50-track compilation that documents their utmost personal favourite rock recordings, in the micro-veins of acid folk, rockabilly and psychobilly. We'll doff and eat our hats if both said punk legends' rising signs aren't Scorpio. With madcap performances from Donnie James with the Mighty Joe Houston Orchestra, Tall Tonio And The Mello-Dees, Chris Christian And The Chordaires, Elisabeth Waldo, Fred Katz and John Reedy and His Stone Mountain Trio among many more, this is a cavalcade of no-hit wonders, every last one of them a gem. Amounting to a contemporaneous account of the music that The Cramps heard and loved during their rise to notoriety, not to mention the lesser-known music that would've graced the halls of New York's CBGB club, of which they were favourite performers.

Review: "In Rainbows", Radiohead's seventh album, finally gets a physical release! It's one thing downloading this landmark album, but to actually hold this is something special. Not only do you get increased sound quality, but you also get the amazing artwork from Stanley Donwood. This album includes "Nude", a live favourite for many years that was originally written during the "OK Computer" sessions. More minimal that their "Kid A" period, "In Rainbows" does something that very few albums have done - its sound is distinct from previous Radiohead albums, but is still clearly Radiohead. Hail to the kings, they are back on top form.

Review: Theo Parrish's masterful Sound Sculptures Vol 1 on triple LP format gets a timely repressing!! In total here there are 9 of the 27 tracks from the full double CD version but these still run the gamut of Theo's inimitable talents, from rough and tumble disco edits to saccharine soul, raw beatdown and leftfield esoterica. Be sure to check the Omar S- featuring "Synthetic Flemm" and long time Juno favourite "Flotation Device". If ever there was a selection of tracks that fully showcased the incredible breadth of production talent this man has, this is it. Not to be missed!

Review: There was much talk ahead of the release of Darkstar's debut album as to whether the London based outfit could live up to the promise of their stunning breakthrough single "Aidy's Girl Is A Computer" on Hyperdub in 2009. The answer, in short, is yes. In the course of the past 12 months Aiden Whalley and James Young have morphed from a production team into a band, adding vocalist James Buttery along the way, and North, the fruits of their labour, is a fragile, delicate and beautiful record. Tracks like "Gold" and ""Dear Heartbeat"" showcase an 80s synth pop sensibility, forming the backbone of an album that is steeped in worry and melancholia. Buttery's vocal talents add an extra layer of depth to the music, particularly on the poignant, piano driven opening and closing track "In The Wings" and "When It's Gone". There is much to explore on North, which will go down as one of 2010's most affecting electronic albums.

Review: Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand. Yet despite this, his music speaks loud and wide, and the world has been listening ever since his 'South London Boroughs' EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many 'best of' polls. Now Burial returns with 'Untrue', a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with the debut's crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Kicking off with the skittering 2step syncopations and vocal science of 'Archangel', 'Near Dark' and 'Ghost Hardware', before long it descends into a space of radiant divas and ambience. Where 'Burial' first was humid, suffocating and unrelentingly sad, 'Untrue' is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria typified by the epic, muted optimism of the album's last track 'Raver'. Forget central heating the radioactivity of this album is all that you'll need to keep you warm this winter. 'Untrue' is available as full 13 track digipack CD, including recent underground hit 'Ghost Hardware', and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.

Review: Given that Four Tet's recent 0181 LP was comprised of material from Kieran Hebden's archives, and last year's Pink was largely compiled of tracks from the previous 18 months of 12" releases, it seems fair to say that Beautiful Rewind is his first proper album since 2010's There Is Love In You, and as such, it arrives with some degree of expectation. The past few years have seen the producer engage increasingly with the dancefloor, and these rhythms are most definitely present across the LP, particularly in the jungle breaks of "Kool FM", pirate radio-influenced techno of "Buchla" and hesitant dubstep style rhythms of "Parallel Jalebi". For the most part however Beautiful Rewind is as varied as the likes of Rounds and There Is Love In You, with the minimalist kosmische of "Ba Teaches Yoga", analogue gurgles of "Crush" and dawn chorus sounds of closer "Your Body Feels" all as beautiful as his most enduring tracks.

Review: Leapfrogging conventional rock sounds and hop-scotching conformity, these unassuming young gentlemen yell "Up your pigeon-hole!" to an industry obsessed with format and repeated musical templates. In the humble surroundings of a quaint English seaside village, the members of Odd Shaped Head reside in chaotic harmony: Paul (bass/vocals), Ricky (guitar/vocals), Rob (drums) and Andrew (guitar); from childhood chums to grown up geeky misfits. The quirky quartet release their new single "Egomatic Annie". Their eclectic brand of energetic, rhythmic, funk-punk, jerky bass popping, powerful scatterbrained drumming and stabbing guitars bursting into vibrant melodies draws more fans along to venues already packed with a collage of characters. This is not to be missed.

Review: In 2008 the Masterpiece compilation series continues with 'Masterpiece Volume 6: The Ultimate Disco Funk Collection'. Again a very special collection of 12 inch mixes of the eighties. You will find great 12 inches of Bar-Kays, Roy Ayers, Dynasty & Love Club and less known (but not less loved) long versions of Kathy Buck, Up Front and Evan Rogers. All tracks have been digitally re-mastered for all 80’s disco funk lovers.

Review: Steel pan, disco and dub from the 1970s in Steel An' Skin's 'Reggae Is Here Once Again'. Yet another lost gem from EM. Ultra-postive consciousness from Afro-Caribbean London, circa 1979. Members of the legendary 20th Century Steel Band (one of Grand Master Flash's favourites) sailing Trinidad-wise over gratifyingly intricate African ritual rhythms. Strong vocals compliment reggae, funk, disco and soul influences to form a relentless groove machine. Steel 'n' Skin, a unit composed of young nightclub musicians born in Ghana, Nigeria, St. Kitts, Trinidad and the U.K., who once performed with Ginger Johnson's Afrikan Drummers, a highlife band under the tutelage of the late Ginger Johnson and played at Johnson's Iroko Country Club in Hampstead, London. Steel 'n' Skin began performed concerts and workshops in London schools, expanding nationwide to schools, prisons, psychiatric hospitals and summer festivals, including the world-famous Notting Hill Carnival. The group combined a mix of musical forms with community outreach, non-cynical and untainted by preachiness or "social work." Good feelings from good hearts. This EM reissue consists of Steel 'n' Skin's 1979 debut 12 inch single "Reggae Is Here Once Again", featuring "Afro Punk Reggae (Dub)", a fine disco-dub workout, plus 2 tracks from their 1984 LP ACID RAIN as well as one un-issued track. Also included is documentary DVD by Steve Shaw featuring commentary from Steel 'n' Skin's founder Peter Blackman, killer live and rehearsal footage of the band, workshop scenes (check out the 1970s suits and parkas!) and devastating views of inner-city Liverpool. Steel 'n' Skin soars above the 1970s ruins.

Review: 'Mod Classics 1964-1966' from BGP is the first compilation of Georgie Fame's Columbia recordings since 1979's 'Beat Classics' and is designed to complement that seminal work. While that went for the hits and the singles, 'Mod Classics' goes for the dancefloor appeal of 24 tracks that mix jazz, rhythm and blues and soul. Many of the tracks on this CD have only been available in Japan since their original releases were deleted in the late 60s.

Review: In 2007 Juno Records is ten years old, and we've decided to celebrate by releasing 10 singles throughout the year. Each one is a classic dance track featuring new remixes from the some of the most exciting and established names in the business, including Julien Jabre, Spirit Catcher, Dimitri from Paris, Lindstrom, Troy Pierce, Cobblestone Jazz and many more. These releases will initially only be available from www.juno.co.uk and www.junodownload.com. To launch the series we have pulled out all the stops with the re-release of the timeless "In The Trees" by Faze Action, featuring remixes from the legendary Carl Craig and Jerome Sydenham & Tiger Stripes, as well as the brilliant 1996 original mix. A genuinely huge release, this could be the first of 10 future classics! ***Stop press 19/12/07: the Carl Craig mix has been voted #3 in residentadvisor.net's "Top 5 Remixes Of 2007".

Review: Already the winner of a Brit Award (Adele was voted the 'Critics Choice' - the most exciting new British artist expected to 'make it big' in 2008),
'19' is Adele's debut album. Citing influences as diverse as Etta James, Jill Scott, Bjork, Dusty Springfield, Billy Bragg, Billie Holiday, Jeff Buckley,
The Cure and Peggy Lee, Adele also recently completed her first solo UK tour, having toured previously with the likes of Jack Penate, Jamie T,
Raul Midon, Amos Lee and Devendra Banhart. '19' contains both her debut track 'Hometown Glory' and her smash single 'Chasing Pavements'.
Blues tinged and melancholic, Adele describes 'Chasing Pavements' as 'It's me being hopeful for a relationship that's very much over. The sort
of relationship you hate when you're in it, but miss when you're not'. A hymn to lost love and regret, 'Chasing Pavements' follows Adele's first
limited edition single 'Hometown Glory', which introduced her to the world to much critical acclaim, with NME calling it 'totally, absolutely beautiful',
Q Magazine calling her 'The voice of next year' and The Sunday Times saying 'A Star Is Born'

Review: Social Registry brings you Blood On The Wall's new album 'Liferz'. Having gone from hometown heroes to national fan favourites and critical darlings, the band has earned its reputation as top of the rock heap.
Putting out raucously fun records, this is a portrait of a band at the top of their game - somehow they have managed to get even more awesome.

Review: Black Sands, the eagerly anticipated fourth album from Simon Green AKA Bonobo, is no revolutionary change from his signature sound but does come with perhaps even more subtlety and complexity than his previous offerings. Having constantly instilled a degree of integrity and value back into chill out music following the influx of Cafe Del Mar and Coffeeshop compilations, Green once again displays a musicianship that sets him apart as a true artist and producer amongst a sea of downtempo and chillout DJs.
His undeniably clear understanding of composition and arrangement of live instruments has enabled Green to make an album that reaches out through diverse styles, taking influence and inspiration from wherever possible. On Black Sands, Green delves into electronic music and bass more than he did across Animal Magic, Dial "M" For Monkey or Days To Come but does so with enough subtlety and finesse to refrain from causing a radical shift in his product. Tracks like "Kiara," "We Could Forever" and "All In Forms" all utilise beats and bass in a more contemporary outlook than we are used to with Bonobo. Of course the instrumental feel is still there for all to see. Title track "Black Sands" takes this position for almost seven minutes of a horn infused waltz whereas "Kong" assumes the traditional soul-jazz Bonobo take and "Animals" lets delicate drum patterns guide us through pleasing tempo shifts.
The instrumental vibe is highlighted further in the album's approach to vocals. Unlike his last album, Days To Come which was littered with vocals, Black Sands houses only three tracks that contain vocals. The breathy vocals of Andreya Triana complete tracks like "Stay the Same" and "The Keeper" turning them in more traditional songs. Black Sands is another loving crafted offering that uses orchestral arrangements but this time merged with more of a dance aesthetic. As he continues to make chillout more credible in his experimental way, it's no wonder that Bonobo is one of the biggest artists to come from the excellent Ninja Tune.

Review: classic 2010 Theo Parrish album Sketches back in stock on CD.

Review: Omar S has always been something of a maverick, but even by his own high standards, surprise second album It Can Be Done, But Only I Can Do It is something else. Like much of his work, it's an album of acute contrasts: tough and aggressive on one hand (the ragging acid of the opener and "Ganymede"), soft, calming and blissful on the other ("Nite's Over Comption"). Along the way, highlights are plentiful, from the heady deep house of "You Wish", sparse porno beatdown of "Look Hear Watch" and hypnotic rhythms of "Bobien Larkin", to the next generation Motor City techno of "Over You Two" and near-anthemic simplicity of "Here's Your Trance, Now Dance".

Review: "It's All For You" is a complement to the Sect vinyl catalogue, and a mark of respect to the CD in techno history. Artists known and new swell the ranks, representing the techno forms in the honorable Sect style. Beyond the usual, exceptionally high standard of quality from the Sect roster of artists so far, new artist productions on the first CD include Ben Gibson's "Clamour", a modern take on a Tokyo-style future cityscape, Jeroen Search's "Section A", a physical, forward thinking deep techno triumph and Voidloss' "In The Void" - techno the way it should be made for the 21st century. On CD 2, AnD's "Granular" offers traditional dub aesthetics and modern techno techniques taken to a wholly satisfying next level, while OCH's "Tears" manifest as a dark techno experience of rhythm-led lines of perfection. CV's "Acceptance Of The Fact At Hand" hones hues of colour in aural form, as a subtle vista is painted with strings of haunted beauty.

Review: Even by the standards of nerd-friendly underground deep house, Germany's Smallpeople work slowly. This debut album has been three years in the making, during which time they've released just a handful of 12" singles. Like much of their previous output, Salty Days is very deep; in fact, some of the tracks are so understated they'd be greeted by whispers on the dancefloor. There are more uptempo moments, of course - see the fluid snappiness of "Down With Your Vision" or mildly sweaty "Beauclair" - but the overall mood is intoxicatingly deep and atmospheric. In truth, it's all the better for it. You see, at times Salty Days is mesmerizing.

Review: By now, we should all know what to expect from deep house legend Ron Trent. Over the years, he's fine-tuned his musically complex, emotion-rich sound to a tee. This fourth album, the follow-up to last year's more mixed up Dance Floor Boogie Delites, sees him at his most cosmic and melodic. Think smooth pads, darting synth doodles, hypnotic - and occasionally percussively complex (see "Atmosphere" - grooves, and twinkling piano melodies. For those who appreciate his slightly soft focus approach, it's a delight, with some genuine gems to behold. "Sweetness", "Space Dance" and the darker, clubbier "Blood & Fire" are arguably among his best tracks of recent years.

Review: There's a strong argument to say that those artists who make an effort to develop their sound make the very best albums. The fabulously named Guillaume & The Coutu Dumonts is clearly one of those artists. Since first causing waves back in the mid 2000s, he's moved from a maker of crunchy minimalism to someone whose sound is much harder to pin down. Twice Around the Sun, his third full length, shows further signs of development. While it remains rooted in his trademark atmospheric sound - a mix of loose, organic drums, tactile synths and pleasing melodies - it stylistically moves in a myriad of directions, touching on quirky lo-fi pop, strobe light techno, curious deepness and touchy-feely downtempo bliss.

Review: When The Prodigy's The Fat of The Land first appeared back in 1997, it captured the mood of the times. By blending the psychedelic obsession of the Chemical Brothers and the rock-obsessed rhythms of big beat with their usual rave-influenced nastiness, Liam Howlett and company blew the competition out of the water. Almost overnight, they became international dance music's most in-demand live act. 15 years on, the album's lost none of its sparkle. This celebratory edition presents the remastered album in full, alongside a sextet of remixes. While they don't all hit the mark, Major Lazer and Noisia's booming reworks of "Smack My Bitch Up" are pretty darn tasty.

Review: Ruled by Passion, Destroyed by Lust marks the fine debut of The Asphodells, Andrew Weatherall's latest collaboration with close friend and creative foil Timothy J Fairplay. Their compatibility shines through, taking their shared interests and inspirations and playfully tosses them together to create a stylish, coherent whole. The album displays its dark underbelly proudly, but there are more than enough shards of light to inspire those salivating after the bold melodies of Two Lone Swordsmen or the naive, child-like bagginess of Weatherall's Screamadelica era work. At times reminiscent of New Order and others cripplingly paranoia inducing, this ten track set concludes in sublime fashion with the duo's dreamy, cosmic disco-era cover of A.R. Kane's "A Love From Out Of Space"

Review: It's been a while since Freerange boss Jamie Odell (better known, of course, as Jimpster) delivered an album; in fact, his last full-length dropped way back in 2006. Seven years is a long time between drinks, but the rest seems to have done Odell good; Porchlight & Rocking Chairs is arguably his strongest album to date. While deep house remains his focus (see the intricate "Glowing Embers", Detroit influenced "Cracks In The Pavement" and Moodymann-ish "High Wire"), there's a soulful bagginess and barely concealed jazziness throughout. More impressively, many tracks hark back to his pre-house days as a producer of lovingly crafted downtempo gems (see "Jasmine Dragon", "Wanting You" and previous single "These Times".

Review: It's been a while since Soul Jazz tapped into the seemingly bottomless well that is the Studio One archives. This latest trawl through "Sir" Coxsone Dodd's landmark label focuses on the Jamaican imprint's ska output in the "downbeat" period between 1962 and 1965. It was in this period that the ska movement, reflecting Jamaica's newfound independence from the UK, truly began to find its own voice. While that alone makes Studio One Ska Fever worthy of further inspection, it's the tracklist - heavy on early scene classics such as "Freedom Sounds", "Marcus Garvey" and "Mad World", as well as lesser known gems and early works from Lee 'Scratch' Perry and the Wailers - that makes is essential listening.