Hot on the heels of "Mission" earlier this year, Shuya Okino's Kyoto Jazz Sextet troupe present another gem from last year's Unity album complete with a remix of the highest calibre. This time the cascading, Latin rhythm and frenetic horn leads of "Rising" are given the midas dancefloor touch by none other than Ron Trent. Maintaining the wily spirit of the original while coating in warm organ blasts and subtly bumping kicks, it's a precision translation that brings the original into a whole new context.

Hamburg's Front club was a fixture of Germany's underground club scene throughout the '80s and early '90s, with resident DJs Klaus Stockhausen and later Boris Dlugosch championing house music (amongst other things) long before it was fashionable to do so. It certainly made an impression on Gerd Janson, who asked Stockhausen and Dlugosch to put together a celebratory retrospective of Front favourites. This second part (of two) contains some real gems, from Dlugosch's edit of Toyin Agbetu's Dream 2 Science influenced deep shuffler "After The Storm" and the Bobby 'O' style '84 sleaze of Mark Imperial's "J'Adore Danser", to the mid-'80s NYC house flavours of CT Satin's "I Found A Friend (Underworld version)" and the Italian dream house colours of inspired early Fila Brazillia single "Mermaids".

Omar-S introduces Detroit's newest diva on the scene, Simon Black with an X-Rated 12" for the real freaky types. In line with some of the definitive vogue house tracks of the past, "I'll Do It Again" will become future ballroom staple. On the flipside, "Freaky Type" Black slows it down and steams it up with some nasty vox over a beat produced by FIT Siegel. High kicks and hand snaps all around!

With a decade's worth of releases for the likes of Cadenza, Bass Culture and Bosconi to his name already, Alex Picone is arguably one of the techno and minimal house scene's most reliable producers. There's certainly much to enjoy about his latest EP, which marks his second outing of 2018. Check, for example, A-side "A Flock Of Hummingbirds", where deep, spacey and chiming lead lines delicately dance around slack-tuned, electro-influenced beats, funky analogue bass and glitchy tech-house electronics. The fun continues on the B-side, where Picone first wraps dreamy chords around a bustling rhythm track on the hot and humid "Birds Of A Feather", before serving up some more skewed tech-funk and twittering bird noises on the atmospheric and entertaining "Chirping".

Lone is in a glassy-eyed and loved-up mood on this fourth instalment in his excellent "Ambivert Tools" series on R&S. We're particularly enjoying the lilting, soft-focus dreaminess of A-side "Pulsar", where swelling chords and poignant synth-strings sashay seductively between a densely layered, mid-tempo breakbeat groove. The long-serving producer ratchets up the energy on low-slung electro flipside "Oedo 808", another largely dreamy affair that boasts the twin attractions of raw acid style bass and ear-catching TR-808 drum machine cowbells. To finish things off, Lone serves up the EP's most blissfully loved-up moment, "Blue Moon Tree", whose bouncy pianos, fluttering vocal samples and languid chords sound like they were tailor-made for sunrise.

Spirits of the east converge from Russia and Romania for this fresh and inspired collaboration between Tess Conway and Radoslav Monrovani. Having forged respected names for themselves amid the fading shades of witch-house, both artists have merged influences & long established studio skills from afar to invoke dark energies, creating a theatre of menacing atmospheres and occult mystique. A multitude of live Instrumentation has been used in the production of this haunting offering including guitar, piano, kalimba, sampled Asian percussion, alongside an array of MIDI programmed, hardware synthesizers & processing. Adaptive Sonic Music was formed to coordinate final stages of production for this and further releases due in months to come.

Second time around for Carbon Based Lifeforms' sixth studio set, "Twentythree", which first surfaced on Ultimate Records back in 2011. It remains one of the Swedish ambient duo's most potent and poignant works, delivering dollops of weightless electronics and intergalactic soundscapes that slowly twist, turn, ebb and flow. The pair's subtle use of field recordings and sound effects adds extra layers of atmosphere and intrigue (see the feverish, drifting-down-the-Amazon vibes of "Inertia" and the chiming, summer-in-the-city hum of "Kensington Gardens"), while their ability to conjure vivid audio imagery from little more than elongated chords and sweeps is arguably unparalleled. "Twentythree", then, remains a triumph, albeit a self-consciously quiet one.

Yeah yeah, Cleveland rocks, and of late it's Ohio's Cloud Nothings that, alongside Bone Thugs & Harmony and Nine Inch Nails, are keeping the city on the map as somewhere that still has something in the water. This latest album sees the group elevated to a release on Wichita - think Bloc Party, The Crips and Clap Your Hands Say Yeah among others - and it's the 11-minute "Dissolution", the freeform centerpiece of this album that really impresses. It's a short cry from the experimental rock of At The Drive In/Mars Volta while more emotional numbers like "The Echo Of The World" and "Another Way Of Life" bring to mind bands like Alexisonfire, Thrice and Sparta. If you like your punk with touch of Pennywise and Rancid too, Cloud Nothings set the tone.