Back catalogue: All genres

Review: The Heat Rock label has been turning out overlooked gems or stone-cold classics from the worlds of funk, soul and hip hop for a while. Here they reissue the first volume of their Altered Tapes series on 300 copies of limited edition red vinyl. It's a real doozy for collectors and DJs alike as it packs a proper punch. First up is an Altered Tapes remix of The Emotions's 'Blind Alley' which is super sweet soul music with a fresh hip hop beat and big horn sections powering along. On the back side, Phoreyz & Brisk offer a Multramix of Big Daddy Kane's cool and catchy 'Ain't No Half Steppin.'

Review: 2022's stunning album Once Twice Melody was a fine example of Beach House doing what they do best - living bang up to that name, with intimate-but epic instrumentation falling somewhere between surf-y jangle and grand shoegaze. 'Become' is definitely on a similar tip, and as such feels much like an extension of the long form.
Dig a little deeper, though, and scratches begin to show. While the full-length record represented Beach House reaching for the stars, or at least the moon, and stepping into the role of festival headliners, here the sense of pure confidence and occasion is less pronounced. That may not be a bad thing, mind, because while Once came across like a finished article, refined and prepared, things here seem somehow rawer, as though we're sitting in on a session as oppose to getting the signed off product.

Review: Beach House gets in on this year's Record Store Day hype with The Become EP, which is a collection of five songs from the Once Twice Melody sessions. Say the band, "We didn't think they fit in the world of OTM, but later realized they all fit in a little world of their own.' As such they are presented here with their own scuzzy and spacious sound and special capturing of live playing spirit. The tunes are outliers for where the band is generally headed right now but still offer plenty of fans old and new to enjoy.

Review: Matti Bye is Between Darkness & White Snow on this deeply absorbing new 12" on Northern Electronics. It comes as four separate pieces that all play out as part of a larger narrative. First up is 'I', a quiet, gloomy landscape on a grey winter's day with the gentle sound of flowing water and muted synth modulations placing you right in the middle of it. 'II' has more presence, a growing sense of melancholy and unease and 'III' allows a little heavenly light into the mix to gently uplift. The final chapter has a feeling of hope with subtle keys radiating from deep inside.

Review: We have been really liking what we've heard from the Dolphin label out if the US of late. Now we get a taster of an upcoming album from Blaque Dynamite with a second single from it. Beka Gochiashvili features on keyboards and synthesizers throughout the cut. The Stefan Ringer remix is a wet and funky mix of jazz, house and experimental sound. It has a sleazy sense of vocal naughtiness to it with shuffling broken beats and rich layers of percussion. The original is an organic and loose-limbed deep house vibe and Ben Hixon brings a little more edgy tech to the drums.

Review: Even if you've no idea who Boygenius are the subtitle of this reissue alone should warrant investigation. Originally released in 2018, five years on the American indie group are looking to revisit and relive their wildly successful debut EP, which at the time of its initial release had critics fawning over the quality of its content. NME, for example, awarded it a perfect score, while the normalised rating on Metacritic, which aggregates all reviews and works out the average, gives it 84 out of 100. So what was so good about the record? Well, for one thing, each of the artists involved brings their own personality to the equation, resulting in a wonderful stylistic marriage that sounds like minimalistic and melancholic rock and poetic folk pop. And thematically, this is emotionally very highly charged stuff, destined to grab you by the heartstrings and never let go.

Review: Beyonce's last album was widely heralded as a triumph by all. It found her diving into house music and working with scene stalwarts like Luke Solomon and Honey Dijon. It won a Grammy for its efforts. Now, even though plenty of the originals were ready to work a club dancefloor, we get treated to some remixes. They all focus on the standout single 'Break My Soul' and we get funky and soulful stuff from Terry Hunter, broken beat from Will I Am, house thumps from Honey Dijon, and filter-heavy stuff from The Queens. Add in the Nita Aviance club mix and the original version and you have a useful package indeed.

Review: Boris Brejcha is a big deal in the techno world and for good reason. He has an all consuming sound that works in a wide array of different settings. He serves it up on veteran German label Harthouse here with a coloured 12" packing one solid punch on each side. 'Moment In Life' is a moody one that teases and pulls back, with suggestive synth motifs and textured synth modulations all suggesting something is just around the corner. 'Lost Memory' is a much deeper and more pensive cut with lonely lead speaking of real pain.

Review: Boris Brejcha's distinctive style of 'high-tech minimal' has earned him much credo over the years, enough to warrant the rerelease of several of his most enduring tracks under the recently embarked-upon Classics series. The tracks this time around are 'Festival Of Love' and 'Wolcke 7', originally released in 2007 and 2008 respectively on the Harthouse label before taking the international minimal scene by storm. Though they're both shuffling, popcorny sundowners for those who like it clean, classy and glassy, these tracks explore different zones, with the A-sider far jankier than the more accessible B.

Review: German masked crusader Boris Brejcha returns this week with another set of massive hi-tech minimal anthems on the esteemed Frankfurt imprint Harthouse. Club Vibes Part 02 features the strobed-out main room locomotion of 'Bumblebee' featuring all the hypnotic elements, white noise build-ups and clipped rhythms you've come to know him for, while over on the flip he treats you to the emotive and bittersweet tech house journey 'Jawbreaker' which once again displays his clever use of melody on another 'maximal' masterpiece by the FCKNG SERIOUS head honcho.

Review: Boris Brejcha tops up his functionally named 'Club Vibes' series with a refreshing pair of minimal/deep techno tunes, both of which provide a unique take on the style. 'In The Shadows' is a big-room EDM number replete with talking bass 'yuhh's, sinister horror voices, and It-madhouse melodies, pulling of the difficult-to-nail mood of cheeky, yet horrific. 'Schwartz', meanwhile, plunges us into the void with farty reeses and soft synth whoops, building to an overall cavernous sonic image.

Review: Big week for the inimitable Boris Brejcha, who returns with a vengeance on the fourth installment of the Club Vibes series. Heavy duty peak time artillery takes aim at you on this one, featuring A-side cut 'Knocking Bars' which is exactly the kind of maximalism you've come to know and love from the German producer, that will definitely have you reaching for the lasers. Over on the flip however, the FCKING SERIOUS co-head will have you pogo-ing on the dancefloor amongst all the many hands in the air on the playful minimal funk of 'LSD Waterpipe' incorporating mesmerising melodies and his cheeky spoken word vocals.

Review: German innovator Boris Brejcha had a couple of solid releases drop at the tail end of December 2022. As well as an entire double pack of fresh tunes he has also served up this Club Vibes Part 05 12" on Harthouse. 'Black Unicorn' opens up and is a playful tech groove with some bright melodies dropping in from above as a twisted bassline and crispy drums get you locked in below. On the flipside is 'Sit Back & Take It Down' which is another lively and elastic groove with colourful chords and some dark vocals over blasts of synth. Two useful tech tools for sure.

Review: Top Ranking Sound rolls out more featured reggae gold from the vaults here with a new 12" that features tow originals and two versions. Black Survivors open up the account with 'Come Away Jah Jah Children' which is brilliantly unhurried. The horns are lazy and steamy, the vocals seductive, the drums seriously heavy. A dub version allows more focus on the noodling acoustic guitars, then Original Survivors step up with their own version on the flipside under the same title. This one is a little more bright and uplifting with a dub that is just as good closing out the record.

Review: Bona Fide returns on All Day I Dream with his first proper release named Entropy. The Amsterdam-based DJ and producer has certainly found a fitting home for his style of dreamy house on Lee Burridge's label, with highlights on the full-length not limited to: the mesmerising title track with its sublime steel drums playing centre stage, the deep dive into the exotic that is 'It Comes Around', through to the deep and sensual mood music of 'Alter Ego' featuring Zone+, the melodic fantasy of with 'Love Sparkles' with Wassu and the blissed-out closing cut 'Luminous' which is the perfect soundtrack to open-air rooftop style fun in the sun.

Review: The Shapeshifters are bonafide dance music champions with some rare studio skills. Their golden era sound is as rich as they come and their on going relationship with Glitterbox now results in a new future classic, 'Finally Ready.' It follows on from jams like 'Try My Love' and 'Life Is A Dancefloor' and has a strong message that no matter where you come from, on the dance floor there is always acceptance and hope. Grammy, Tony and Emmy Award-winning singer, director, composer, actor and playwright Billy Porter is the co-writer and with all its big strings, live horns and sense of theatre, it's another winner.

Review: JP Buckle's 1998 album Flying Lo-Fi is an unsung gem of the Rephlex catalogue, full of crunchy flair and all the qualities you want in a kick-ass braindance record. Buckle has more recently been reactivated with scattered releases on Bandcamp and the like, and now he's revisited his finest hour with a remix double pack which takes us back to some of the album's standout cuts bolstered by remixes from the current crop of electronica legends. 'Flex' and 'One For Da Laydeez' sound as fantastically crunchy as they did back in the day, but it's great to hear emergent acts like Crispy Jason (spotted elsewhere on Winthorpe Electronics) getting freaky with such feisty source material. Look out for the Roy Of The Ravers version of 'Flex' - another highlight on this high-grade braindance affair.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: The story goes with this one that a collective of seasoned musicians came together and discovered a rare camaraderie. With no hesitation, they poured their everything out onto tape and the results are now presented here on this one-sided and etched 12" under the title Better Lovers. Out features former Every Time I Die members Jordan Buckley on guitar, Steve Micciche on bass, and Clayton "Goose" Holyoak on drums with frontman Greg Puciato on vocals and Grammy-winning producer Will Putney. The music is dense metal with walls of sound washing over you and full of big guitar riffs, guttural vocals and dark energy.

Review: Luca LTJ Trevisi is LTJ Xperience and he began his DJ and producer career in the 80s. He was a resident at two of Italy's most acclaimed clubs and sure knows how to craft a tune. As well as his own originals he is a master of the remix and someone who can rework any cut to be even more potent not he floor. He proves that here with four new versions that span deep and dreamy and cosmic disco. He tackles Vasquez, Black Mighty Wax, Soultrend Orchestra and Papik & Sarah Jane Morris and turns each into gold.

Review: Once again, Music From Memory has dug deep for inspiration. Very few will have come across the original 1987 pressing of Ich Traume So Leise, a long-forgotten collaborative album that brought together trumpet player Heinz Becker, songwriter Karl-Heinz Stegmann, and poet Isabel Zeumer. Predictably, though, the tracks which the Dutch label has chosen to reissue are exceptionally good. "Mein Tanzlied", for example, features Becker's meandering trumpet lines and Zeumer's eyebrow-raising spoken word vocals seemingly drifting over an intoxicatingly funky, mid-80s dancefloor groove, while "Dir" is a seriously atmospheric chunk of beatless jazz poetry. Flip for the Balearic electro-funk of "Der Schnupfen" and the languid, new age ambience of "Abends".

Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.

Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.

Review: Biz Markie was one of the true titans of the early East Coast hip hop scene - a staple of Marley Marl's Cold Chillin' label with a cheeky demeanour which showed even the toughest hip-hop didn't have to be moody. 'Just A Friend' originally dropped in 1989 and became a mainstream hit in the US, breaking Markie to the world and ensuring the success of his second LP, The Biz Never Sleeps. Nearly a year since he passed away, Cleopatra have revisited one of his most enduring classics and given it a fresh airing on this tidy 7". If you don't already have it and you take your old-skool hip-hop seriously, don't sleep on this one.

Review: Reissued from the 1983 original press on House Of Music - and subject to many a reissue since, for good reason - the Italian duo BWH hear their enduring classic 'Livin' Up / Stop' rereleased once more. Something about the collaborative effrots of Stefano Zito and Helene Zito made for a dizzying concoction in Italo, and the lasting interest in this single is backed up by the song's squeezy-clean mix and Hi-NRG synth rollicks. 'Stop' on the B-side, too, is slower and more rapacious, and without it, the single wouldn't be the same.

Review: Archeo Recordings bring us some more Balearic Italian treasure here with some gold initially recorded in Bologna almost two decades ago. It's a collaboration between friends Bottin and Lucio Dalla that has never before been on vinyl. 'Lunedi Cinema' was an ident that played before Monday night movies on of one of the main Italian TV channels for many years. This electronic version includes the Martedi Mix from 2008, a Minibar Bonus Track and also a mix by pioneering Italian dream house dons Leo Mas & Fabrice with a Bottin dub sealing the deal. It's a superb package of real Italo music history.

Review: This is a special and unique coming together that sees Turnstile join forces with the brilliant Toronto jazz ensemble and production team BADBADNOTGOOD. They have worked on reimagining songs from the former's well-received 2021 album Glow On and the results bring all new perspectives and dynamics to tunes like 'Mystery', 'Alien love Call' featuring Blood Orange and 'Underwater Boi.' Both Turnstile and BADBADNOTGOOD are untouchable in their fields right now with rave reviews for their records as well as their live shows. This is another standout project.

Review: There are as many opinions on 'Now & Then' as there are people, but regardless of your own thoughts on this revived Lennon sketch there's no denying the arrival of the final Beatles single has been one of the major musical events of 2023. Collectors and completists, meanwhile, of which we gather The Beatles have more than a few, will be trampling on top of each other to get hold of these Japanese editions of the single.

Review: 'The Omega Sessions' is a five-song EP recorded by Bad Brains in 1980 and released in 1997. The tracks were recorded and mixed at the original Omega Recording Studios in Rockville, Maryland, and overall, the EP contains early versions of songs which eventually appeared on later releases, including a revamped reading of 'I Against I.' This reissue marks the seventh release in the remaster campaign that is now upon us, re-launching the Bad Brains Records label imprint. Just five incendiary originals screamers, all the way through to the inimitable sass-monster that is 'Attitude', are enough to turn our brains mushy once more.

Review: During the latter stages of the "Philly Soul" era, New York remixer Tom Moulton delivered a string of inspired, DJ friendly reworks for the Philadelphia International label. For proof, check this fine selection of classic Moulton mixes for the storied imprint. Check first his version of Archie Bell and the Drells' "Where Will You Go When The Party's Over", which he brilliantly teases out and increases in intensity over nine spellbinding minutes. The funkier flex of People's Choice's "Jam, Jam, Jam (All Night Long)" is a sweaty, low-down treat, while the Teddy Pendergrass rework is a soaring disco classic in the Philly Soul style. Best of all, though, is the string-drenched disco celebration that is his mix of Lou Rawls' "See You When I Git There".

Review: Everything about Bring Me The Horizon is stadium scale. Heavy metal proudly wearing deathcore and emo patches, from unapologetically direct lyrics through power chords and a vast timbre that makes each track feel ocean deep, fans of the Sheffield outfit will find them on as ferocious form here as at any point in their near-17 year career together.

Firing on all cylinders and then some, from 'Dear Diary' onwards it's a classic case of pissing off the parents and turning things up to 11. Then ravaging the mic in a cannibalistic frenzy. A sign of the times, tracks like 'Itch For The Cure (When Will We Be Free?)' And 'Obey', the latter featuring a guest appearance from YUNGBLUD, reflect increasing use of rave and drum 'n' bass nuances in the metal world right now, while 'One Day The Only Butterflies Left Will Be In Your Chest...' closes on dark, dramatic opera.

Review: Barbie Bertisch's debut album Prelude made quite the stir when it dropped back in June. It was also ripe for remixing and so it is that Love Injection have enlisted six top talents to add their own spin "in dialogue" with the originals. First in the series we have Montreal's Gene Tellem on the A-side flipping 'After The Storm'. The resulting tune is faster than the original: it is a wavy, dreamy deep house cut with superbly subtle synth work over the rolling drums. It gets you in a trance in no time with its lush atmospherics. On the flip, Tamar sumo and Lakuti, well known to the heads at Berlin's P-Bar where they are residents, go for a powerful peak time rework. It has chattery claps and intense synths layered up over the unrelenting drums to make for something textured and euphoric and sure to make a big impression. We already can't wait to hear the rest in this series.

Review: Roffa than ruff! Netherlands craftsman Mike Redman (AKA Deformer) unites local MCs Bigman Scep, Swift and Dart for this big singalong skank-out. Tailored for festivals, it pays homage to the roots with big party energy. Meanwhile on the remix front we're bombarded with an all-star cast as UK OGs Bizzy B and Ed Rush both get stuck in alongside Mike under his Deformer alias. Bizzy is all about the modern rave twist while Ed Rush gets an old Bad Company style and Deformer goes all-out breakcore. Elsewhere on this double 12" opus we see Mackadena get the breaks on, Rotterdam Terror Corps go full hardcore and Akira teasing us with a little twist of gabber. High grade Dutch business.

Review: The seemingly unstoppable rise of De:tuned continues, as they take a break from serving up sci-fi techno, IDM and ambient techno to deliver something a lot more intense: a surprise EP from original House of God Birmingham resident DJ Paul 'Damage' Bailey. Channeling the spirit of his friend Surgeon while offering up something fresh, the two original tracks on show are undeniably inspired. 'Hadal Zone' adds weirdo noises, bleeps and mind-mangling electronic pulses to a slipped Afro-techno groove, while 'Decompression' is a wonky, triple-time workout full of Ket-addled electronics and wayward loops. Makaton re-imagines that track as a locked-in late-night techno throb-job, while James Ruskin turns 'Hadal Zone' into a buzzing, industrial-influenced electro-bleep number.

Review: After having two of his earlier tunes remodelled by Carl Craig and Mike Huckaby thanks to Sushitech, Detroit's Delano Smith re-emerges on the label with a double pack of tunes made with Brawther under the D&B Productions. That moniker has more to do with the pair's name rather than a suddenly conversion to drum & bass, although there's a love of dubby effects and deep bass power here that - at a stretch - could be said to be in common. The six tracks - Symbiosis' 1-6 - are smooth and simple, but executed with an ear (or four) for an irresistible groove, an economic but rhythmic keyboard stab and a knack for squeezing something nicely soulful from the barest ingredients. Nice work indeed.

Review: Polish group Bloto are emblematic of the adventurous spirit which drives Astigmatic forwards as a label. There's a strong, instrument-oriented jazz backbone to the music, but it equally functions as daring, inventive club music. Drop the needle on 'Szlam', the A-side of this new 7" from the Wroclaw-based outfit and you'd think you were hearing some DMZ-informed soundsystem pressure. That's as much about the looping flute refrain as the breakstep roll of the drums and one note bass drops, but there's still the scintillating energy of a live band powering the sonics. B-side workout 'Scieki' is a moody strutter with a dash of acidic snarl in its stomping bassline and some eerie keys on top, coming on like horror jazz for dimly lit dancefloors.

Review: This official reissue of Bela Lugosi's Dead: The Bela Session comes on black and red splattered vinyl this time around and includes previously unreleased tracks that have been mastered from the original demo tapes of their first ever recording session together. The post-punk outfit's debut single was released initially in 1979. Bela Lugosi's Dead is not only their first single, but also often gets mentioned as the first goth record. It has since been covered by Nine Inch Nails, Massive Attack and Nouvelle Vague. The rest of the tunes from the demo session remain hugely innovative, reflecting their post-punk and dark-glam style with dub reggae influences that would further evolve in their output that followed and explain why the band went on to such cult status.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


This official reissue of Bela Lugosi's Dead: The Bela Session comes on black and red splattered vinyl this time around and includes previously unreleased tracks that have been mastered from the original demo tapes of their first ever recording session together. The post-punk outfit's debut single was released initially in 1979. Bela Lugosi's Dead is not only their first single, but also often gets mentioned as the first goth record. It has since been covered by Nine Inch Nails, Massive Attack and Nouvelle Vague. The rest of the tunes from the demo session remain hugely innovative, reflecting their post-punk and dark-glam style with dub reggae influences that would further evolve in their output that followed and explain why the band went on to such cult status.

Review: Kay-Dee Records comes at us with a 45 double-hitter, presenting Bert Hector's 'The Phoenix' and 'The Kraken' with Kenny Dope on remix duties. On the first record, we're treated to 'The Phoenix', a sure-fire funk gem with a super-warm sound - beat is as cool as it gets, with a laid-back and funky attitude sitting beneath a joyous intermingling of sitar, flute, brass and guitar, all performed at expert levels. 'The Kraken', meanwhile, channels a killer groove, strutting at 85 bpm and incorporating a huge brass section which pumps loud, while flute solos and funky Wah-guitar chops take things up a notch.

Review: This is a beautiful new project from Lucy Gooch (UK), Black Brunswicker (US) and zake (US)-

Lucy Gooch's vocals become an ocean of loops and washes that float above the Black Brunswicker lap steel swells and zake drones.

Review: Classic deep house here by Beanfield, an outfit comprised of Compost Records chief Michael Reinboth with Jan Krause, Michael Mettke and Tobias Meggle, who released one of their biggest tracks 'Tides' with vocalist Bajka back in 2004, taken from the album Seek. Featured is the timeless Beanfield Chant Mix and of course Detroit icon Carl Craig's now legendary rework, as well as Swiss deep house hero Ripperton's impressive perspective. Providing newer reinterpretations is veteran of the Toronto scene Art Department, and Italy's Toto Chiavetta who injects the track with his signature brand of high tech soul.

Review: There's a delightfully celebratory feel about this debut volume of Cititrax Tracks, a new 12" series from Minimal Wave offshoot Cititrax. As beautifully presented as we've come to expect, Tracks Volume 1 boasts a quartet of dancefloor-ready smashers from a blend of new faces and label stalwarts. Amato (aka The Hacker) kicks things off with the glistening EBM funk of "Physique" - all restless synth refrains and pounding bottom end - before LIES affiliate Tsuzing go all dark, psychedelic and twisted on the thrillingly intense, acid-flecked "King of System". An-I go all DAF (with a touch of Front 242) on the fuzzy and dystopian stomper "Mutter", before Cititrax regulars Broken English Club delivers a storming chunk of industrial-tinged analogue funk ("Glass"). Bravo!

Review: A first-time remix LP of Stephan Bodzin's Systematic classic album - 'Tron Caligula Marathon Man' - containing stellar new reworkings of the tunes made between the years 2005 and 2006. Raxon (Ellum, Kompakt), Mathew Jonson (Wagon Repair, M_nus), Elax, Fedele (Ex-Agents Of Time) and Hannes Bieger all make appearances, lending gloomy and gargantuan extra credence to a time-honoured techno masterpiece.

Review: BunnDebrettQuintet has got a monster modern soul tunes on their hands here with the legendary Brian Auger on Hammond B3 helping bring the style. The glorious A-side 'Truth In My Tears' has a raw but heartfelt vocal and big horn energy over driving drums. It's a real dancefloor heater and then the flip is 'Wasn't It You', a more soulful groover with lush backing vocals but still dynamic drums powering it onwards. This outfit's last single went on to become a much sought-after release that is now well spenny on Discogs so do not sleep on this limited follow up.

Review: Exarde goes in 'ard with this new double 12" from a mix of new production talents. It operates the intersection of house, tech and minimal and opens with Moray's punchy 'Ghosting Fletcher,' a turbocharged and bass-driven cut before things pick up with the bouncing tech funk of Elias Sternin's 'Metalic Delay' and Aymeric's 'Not Techy Enough' which is a warped and squelchy bumper from the deepest corners of space. Elsewhere, Eliaz's 'Ndvc' impresses with a grittier sound and Sinm's 'Diskotech' is sure to bring the sweat. This is a fine pick up packed full of dancefloor fuel.

Review: West End's double-pack re-edit series continues, with long-standing UK electrofunk hero and scalpel rework specialist Greg Wilson sharing a quartet of revisions. There are airings for two of Wilson's most sought-after scalpel works from the "Credit To The Edit" series - superb versions of Brenda Taylor's "You Can't Have Your Cake and Eat It Too" and Raw Silk's "Do It To The Music" - as well as a couple of previously heard rearrangements that are on-point as per usual. Wilson first adds even more mind-altering delays and low-slung dub disco flavour to Forrrce's "Keep On Dubbin'", before superbly stretching out the mostly instrumental "Melt Down Mix" of Shirley Lites' synth-laden peak-time classic "Heat You Up".

Review: Black Moon was a vital hip-hop collective from the East Coast. They were making waves at the same time as peers such as Jeru The Damaja and of course the legendary Mobb Deep. They shared plenty of sonic characteristics - the low-slung beats, the dark sense of soul, the pervading menace and moodiness that makes the tunes so alluring despite being stripped back. The bars of course are the icing on the cake and here rapper Buckshot is in fine form on 'Who Got Da Props?' with its funky bass and liquid chords, then on the swaggering, late-night vibes of 'How Many MC'S' with its plucked guitar riffs and snappy boom bap.

Review: BDQ Records is the outlet for jam quintet BunnDebrettQuintet, who emerged out of 90s acid jazz titans Mother Earth. Their sound has refocused on a raw and rasping strain with a live, in-the-room electricity which comes through brilliantly on this new single with Lydia Sharpe. Taking a few cues from a Led Zeppelin classic, Sharpe strikes a fierce, sultry figure on top of the sizzling hot Hammond organ vamps and low slung rhythm section. It sounds dangerous like a niche 50s cut, but there's plenty of meat on the bones of the production, while the familiar vocal hooks will go down a storm with a busy dancefloor.

Review: Parlophone are embarking on a mammoth Bowie reissue campaign. 'Outside' was another artifact of the artist's "industrial" '90s era. Unlike 'Earthling', it segwayed neatly between techno and dreamy art rock. For example: the self-titled track is a meditation on time via reverb-drenched band instrumentation, but is suddenly augmented by sampled breakbeats at the halfway mark. 'We Prick You' is similarly industrial, mumbly and weird, yet also just as catchy; this is Bowie's ode to outsider music, made in a weird spate of recording sessions wherein the artist vowed to commit a series of "art crimes".

Review: Mark Broom is a techno veteran, but just because he enjoys that sot of status doesn't mean he has lost his edge. He proves that here with a hefty new record on Radio Salve's mighty Rekids. It bangs from the off with his signature heavy drums defining each of the tracks across all four sides of vinyl. '100% Juice' is peak time tackle with incendiary hit hats and loopy synths, 'Slush' is a head melter with more warped lines and elsewhere 'Wonky Workout' does exactly what says on the tin. There is a brilliantly unsettling and eerie vibe to 'Boxed In' and straight up dance floor fire in 'Wiggle Me This.'