Back catalogue: All genres

Review: First released in 2006, 'Ceerial Port' is the ultimate wildcard in the electro profligate Ceephax's towering discography. The seven-or-eight track album does things with the electro form that few of Mr. Jenkinson's contemporaries would dare ever indulge, were it not for this initial fatherly stamp of approval. lead reissue cut 'Acid Whorl' is the foremost case in point, hard-limiting and soft-clipping a cyclonic 'whorlwind' of pitch-whacked acid effluence. Further 8-bit playtimes come in the form of 'Acid Highway' and 'Acid Causeway', recalling the feeling of scouring the outer edges of an Atari Kart game and encountering nothing but rolling, pixelated skies; 'Tough Grugoy Acid' and 'Woodlice Acid' make up the longer wavelengths on the spectrum, stomping and echo-rimshotting to ever-weighty, yet jolly ends.

Review: Playing the guessing game is becoming increasingly regular with regards to releases on The Trilogy Tapes; like Levantis, Rezzett and Ondo Fudd before them, Chemotex arrive on Will Bankhead's label with a foggy sense of mystery that's hard to unravel. Although we may never know whether the producer will turn out to be the moniker for someone more notorious or just another example of Will Bankhead's canny A&R, TTT releases are rarely about the name on the label, and more about the head turning nature of the music itself. Still though, Bankhead appears to have stumbled upon perhaps the most corrosive TTT material yet, with "Schrade Knives" every bit as sharp as the name suggests and comparable to Container having a particularly bad day. However, it's edged out by "Payphone Player", which is pretty much a noise techno version of the ringtone from hell. As you'd expect, it's not for the faint of heart.

Review: The sound of the San Francisco producer C.L.A.W.S. has come a long way since his debut "C.L.A.W.S. Theme" - rather than the booty house that made his name, this new 12" on fledgling US imprint Discaire (who impressed with their debut release from Discodromo) explores significantly deeper territory. "Cave In" as its name suggests is a cavernous affair, where thundering rhythms intertwine with a bumping bassline and muted neon synths, whilst the "Nightdubbin" version of the same track takes things in a more stripped back jackin' direction. On the flipside "Glass Monkey" is a druggy descent into dark crevices with only the trilling of a few firefly synths to provide any illumination. As if that wasn't enough, Discaire have included a cryptic inlay sheet and free pen to help you decipher a secret message on the label itself.

Review: There's not much that hasn't been said about this amazing electro breadance beauty from Juan Atkins and Richard Davis. Sometime last year it was ripped of by Pharrell and company for Missy Elliot's "Lose Control" and (with the notable exceptions of Kraftwerk, Brian Eno etc.) it's generally been the blueprint for everything techno from '83 onwards. Here we have the original and best version... A must have.

Review: Hailing from Spain's Non Series label, Ritmo Oscuro' offers a diverse techno exploration. Sciahri / Conceptual join forces to delve deep into the title track and evolve it enough to make alternate versions stand on their own. The original track oozes sci-fi ambiance with its heavy beat and eerie atmosphere. 'Ritmo Oscuro 2' shifts towards a more aggressive, energy-building tech sound. LDS' remix brings broken beats and distinctive sound effects. Finally, 'Ritmo Oscuro 3' transports listeners to the 90s with its ravey, linear techno. If you are looking for some percussive, sci-fi techno then look no further then this.