Released by Houndstooth (the in-house record label of London nightclub Fabric) in partnership with Mastery-a London sound studio best known for putting on installations and live shows with a host of performers-Quantum Sound is billed as a record “for listening with eyes closed.” You can listen to each of the comp’s 12 tracks in its entirety or, for maximum transcendence, an hour-long continuous mix crafted by composer and club supremo Hannah Holland, who also contributes two excellent productions of her own. The vinyl even comes with an eye mask if you buy it from Fabric’s website.
The air of peace and tranquility permeating this music is to be expected. But it comes from several unlikely sources, author and TV personality…
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Backtracking a bit from previously issued volumes of the series, 
…JUNGLIST! Old Skool Ragga, D&B, Jungle leans to Soul Jazz’s deep reggae-dub-dancehall roots with a treasurable haul of ’93-’95 joints covering the rapid evolution from hardcore to jungle and the seeds of D&B to come. It spotlights a countrywide phenomena never to be repeated at such scale, pulling up artists who would become household names for a brief window of time.
This year’s “in” black music style is the slow, sweet groove of soul harmony ballads. Interest has grown over the last decade and now the rarer of these records regularly reach four figure prices. This interest in Soul Harmony has led to Ace forming its own singles label of that name for the purpose of issuing tracks on vinyl for DJs and collectors of this genre.
…”Microwave,” the 1989 track from Japanese singer Kyoko Koizumi, opens with a plasticky creak and a kitchen timer ring. Adding in crunchy guitar samples, a thudding drum machine and a house-inspired keyboard solo, the chart-topping vocalist embraced the playful spirit that defined Japan’s experimental ’80s genre, known as techno kayō, or techno pop. Positioned on the B-side of the new vinyl-only compilation, Techno Kayō Vol. 1: Japanese Techno Pop 1981-1989, “Microwave” proves that this sometimes-underestimated genre still has the power to surprise.
CBGB’s was the center of the N.Y.C. punk explosion, as well as a welcoming place to play for all the artists and bands who followed in the wake. CBGB: A New York City Soundtrack 1975-1986 is a four-disc set that seeks to paint a picture of the original scene as it burst out into the open as well as detailing the various sounds and movements, like no wave and hardcore, that were born in the ensuing years. All the groups one would hope for are here, represented by slightly deeper cuts — Talking Heads’ sprightly live version of “A Clean Break” for one — along with a ton of lesser-known bands and a healthy dose of super-obscure ones. It’s the kind of collection where even someone with a healthy knowledge of the scene will be constantly surprised. One surprise element…
A journey through the musical life of Gary Young, the subject of the SXSW-winning documentary 
The press release for 
House, techno, and garage were respectively invented in Chicago, Detroit, and New York, but the U.K. embraced them and took underground club sounds into the pop charts during the 1980s and ’90s. 
There’s a profound irony in Warren Zevon’s work: a songwriter fixated on mortality who left behind songs that continue to outlive him. More than twenty years after his death, Keep Me in Your Heart, a new multi-artist tribute album, suggests why that may be.
The second volume in the WaJazz 
1. Pullman – Kabul
In late 1967, the BBC launched Radio 1 as an attempt to fill the void created by the banning of the pirate radio stations that had been beaming pop music into homes around the nation. Leaving the more experimental sounds to John Peel at night, the DJs played a bright and sunny mix of pop music, something that the minds behind Grapefruit’s 2025 collection 
Príncipe have been championing the music coming out of Lisbon’s suburbs for the better half of two decades. The dominating style has been batida, a mashup of two Angolan rhythms — kuduro and kizomba — bound together by whatever sonic glue a producer sees fit. Following the success of batida’s first wave, an increasing number of producers have begun experimenting with this style of music; despite the label’s best efforts, it’s becoming nearly impossible for them to house this ever-expanding pool of talent.
1. The Soft Boys – I Wanna Destroy You
The 12″ single redefined music and the way we move to it, something that’s celebrated on the fantastic new four-CD collection from Cherry Red Records,