Back catalogue: All genres

Review: A releaser that crackles with an energy that could only emanate from the shadowy corners of the Swedish electronic underground. Anna Kohlin, label co-head and architect of hypnotic soundscapes, guides us through a diverse sonic landscape, her own 'What Time Is It?' leading the charge. Built from the evocative textures of the Roland JV-1080, it shimmers with a sunrise glow, ethereal pads interweaving with delicate melodies. Kohlin, a master of contrasts, doesn't shy away from the shadows, injecting her creation with sharper, dynamic elements that add a touch of grit to the dreamlike atmosphere. Eric OS throws down a challenge with 'Timeout', a sonic time capsule that transports us back to the early 2000s. Analogue warmth collides with the raw energy of digital sound, vintage synths intertwining with crisp beats in a nostalgic yet undeniably fresh sonic tapestry. Baby Rollen, armed with a looped double bass sample and the crisp snap of a 909, crafts a hypnotic groove with 'TwentyTwenty Home'. A warm 303 bassline snakes through the mix, adding a touch of acid-tinged euphoria to the already infectious rhythm. Basement Space and Mans Glaeser, never ones to shy away from the unconventional, deliver 'Space Glaezer', a sonic maze that twists and turns through intricate textures and unexpected rhythmic shifts. Kohlin's curation is nothing short of masterful, showcasing the diverse and ever-evolving landscape of the Swedish electronic music scene. Inside Out 002 is a testament to the power of electronic music to transport, inspire, and defy expectations.

Review: Upstairs Asylum is kicking off the year in some style with a couple of killer new EPs. This one is the first in what is presumably a new series to showcase the talents of the Motor City. Mike Clark & Marcus Harris get things underway with 'Hey' which has a subtly uplifting feel thanks to the bright, sustained chords and cuddly drums. Santonio Echols's 'Piano In The Light' (DJ Emanuell Echols mix) is laidback, playful deep house with magical chord work and Brian Kage brings his classy depths to the smooth grooves of 'This Saturday Night.' Ryan Sadorus brings things to a close with the smoky 'Down Below.'

Review: Detroit legend Marcellus Pittman, a member of the iconic Three Chairs collective, teams up with renowned producer James Curd for the AtNosphere EP, marking his debut on Shall Not Fade. This 10" brings all the classic Detroit deep house elements togetherilush synths, smooth vocals, and rolling drum patternsicrafting a track that feels timeless. Curd, known for his work on the GTA soundtracks and various films, adds his production expertise to this collaboration, making the EP a must-have for fans of both Detroit house and masterful production. Two heavyweights on one record, delivering deep house at its finest.

Review: Mark Grusane presence on Disctechno brings with it a compilation of five unique house tracks from Chicago and Detroit-based producers, as you will probably have guessed from the title. The A-side features DJ Slush's synth-driven 'Memory Blank' and Deon Jamar's bass-heavy 'AYYYO' which offer different but both killer sounds. The B-side opens with Jordan Zawideh's reverb-drenched 'Axolotls' followed by Grusane's intense, atonal 'The Recoil' and concludes with Thomas Xu's groovy 'School Street.' All of these are the sort of off-kilter sounds you would expect of these revered and enduring electric hotbeds. Raw, stripped-down and authentic, this is the contemporary Midwest underground.

Review: Inspired by "cosmic vibes and alien sounds", Cut Line Records is a freshly minted imprint founded by New York-based producers Majak and Diego Knows. Wisely, they've decided to set their stall out via a multi-artist EP that offers more than a few hints about what we can expect to hear in the months and years ahead. Naturally, they contribute, rounding off the EP via the collaborative 'Electrik Funk', a smooth, spacey and sub-heavy slab of tech-house funk marked out by cut-up vocal snippets, intergalactic-sounding motifs and rubbery beats. There's plenty to set the pulse racing across the rest of the EP though, from the acid-flecked tech-house funkiness of Pedro Goya's 'Celeste', to the star-fall haziness of Digital Pimps electro roller 'Warning Bells', via the electro-goes-breakbeat shuffle of 'Alien Vision' by Frankula and St Xose.

Review: Freerange's City To City series returns with its second edition, this time spotlighting Lisbon. Known for its stunning views, beautiful beaches and vibrant nightlife, perhaps one of the city's best-known hotspots is the iconic Lux Fragile, which has shaped the city's sound since the late 90s. Longtime resident DJs from Lisbon are now gaining global traction; to butterfly-net the essence of the coastal metropolis, this new mix LP hears six original tracks from local talents, chief among whom are Megatronic, progressor and ambassador for the city, and Yen Sung & Photonz, two names closely tied to the circuit's deeper-underground corners.A

Review: Toolroom's 'sampler' series, which rounds up previously digital-only releases and sticks them out on action-packed 12" EPs, reaches its sixteenth instalment. Given the format, you'll be unsurprised to discover that there's plenty of bona-fide peak-time heat on show, starting with Mark Knight and James Hurr's excitable, filter-heavy, string-laden disco-house bomb 'You Take Me Higher'. Friend Within offers a scintillating blend of heavy acid bass, glassy-eyed female vocal samples, weighty beats and subtle disco samples on the superb 'Chain', while Martin Ikin and Winnie Ama opt for even heavier drums, warped bass, creepy electronics and dead-eyed spoken word vocals on the sweat-soaked 'Control It'. To round things off, we're treated to the tech-tinged funky house bounce of Flashmob and Raumakustik's percussion -rich 'Club Talk'.

Review: Andrew Macari's next offering comes on the small but already well-formed Vessel Recordings label and it delves into some super deep house sounds. 'U Hold Me Tight' is a shuffling, gently percussive number with swaying drums and the sort of groove to lock you in. 'Don't Make Me Wait' is a slower groove with drums that drag their heels in an intriguing way then 'Hana's Jazz Cafe' gets more funky with some playful swing. 'Curiously' shuts down with a nice raw and dusty sound topped with some freaky vocals.

Review: Francesco Mami and Julien Chaptal deliver a compelling deep house experience with their 'Reconnect' release, blending smooth minimalism and melodic tech house grooves. The title track, 'Reconnect', is an addictive mix of fluid rhythms and rich melodies, striking the perfect balance between sleek production and dancefloor appeal. Reboot's 'Outahere Rework' of the same track deepens the vibe, adding a fun, groovy energy that's primed for late-night sets. Side-2 shifts gears with 'This Is My Ticket', a standout deep tech house cut that pairs intricate production with a memorable, catchy drive. The track's hypnotic layers create a textured soundscape, ideal for dancefloor workouts. Johnny D's remix of 'This Is My Ticket' ups the tempo, injecting high-energy beats and an infectious bounce that transforms it into a peak-time anthem. Each version bringing a unique energy while remaining cohesive. It's a well-rounded EP for dance music fans.

Review: Martinesque is back on his own Adam's Bite with a fresh EP that builds on his signature sound. The artist hails from Basel, Switzerland and as well as impressing with this label he was also known for his role in booking for the renowned Elysia club until 2023. Here he kicks off with 'Drama' which is a lively dub house sound with crisp tech drums and wild synth calls, then 'The Final Hour' first comes as an instrumental. It's a seductive sound with synth puddles and twanging chords, heavy melodies and a romantic feel. 'The Final Hour' (vocal mix) closes with a teen vocal line laced in for extra atmosphere.

Review: 'Fix The Pitches On Your Old Turntables To Improve Quality Of Life' on Mud Trax Russia delivers a dynamic and immersive experience in the world of minimal and tech house. The first side opens with Kirill Matveev and Wiklauri's 'Ioli (Kirill Version)', a track that offers a strong, late-night tech house vibe, filled with a driving techno sound. Ataneus' 'Napolitaner' follows, a deeper, chord-based piece with an atmospheric quality and fast-paced tech house elements, designed to energize the dancefloor. On the flip side, Genning's 'Red Lights' brings a fusion of dub techno with flighty, melodic techno sounds, building energy through airy, atmospheric layers. Etzu Mahkayah's 'Cs-13' closes the compilation with a melodic tech house track that introduces trance-like elements, offering a spacey, progressive soundscape. Each track expertly balances depth with dancefloor energy, creating an album that is both atmospheric and immersive, perfect for fans of techy minimal beats and progressive grooves.

Review: Known in Tokyo's underground for filling her DJ sets with an enticing blend of house, new wave and disco, Mayurashka's Studio Barnhus debut is - as the label point out -full of sonic illusions: immediately accessible and enticing tracks which are nevertheless filled with quirky sonic details. There's plenty to admire throughout, from the breathlessly dark and driving peak-time jack of 'Cool Stop' and the lightly disco-infused peak-time tactility of 'Cosmic Rising', to the percussive, wildly pitched-down chug of 'Fatties' and the effects-laden, tribal house-on-the-moon insanity of 'Mountain Pads'. Throw in the low-slung dystopian dub disco madness of 'Appex' and you have a genuinely brilliant label debut.

Review: Merv keeps it super deep here with a trio of supremely tasteful techno cuts doused in dub culture. 'Sliver' is first and awakens the sense with some gentle rattling chords that sound like distant thunder rolling in with a storm. 'Embrace' is airy, with big kicks and frosty pads shimmering across the airwaves and crisp hi-hats cut right through. 'Strain' is last up on the flip and is an elongated journey through some sugary melodic pixelations, a frosty dubscape and hints of melancholia. All are perfect for those late-night and intimate back room sessions.

Review: Michelle's latest offering feels like a seamless expression of self that captures moments of quiet introspection and sudden bursts of energy with a rare fluidity. There's a tenderness in the opening moments, the kind that builds a world around you without being too obvious about it. As the EP progresses, the energy ebbs and flows, with her vocal delivery and production pulling you in different directions, offering an unexpected balance between reflective depth and danceable grooves. It's a record that feels carefully crafted yet entirely free-flowing, its moods shifting in a way that keeps you engaged without overstating its intentions. A complex yet accessible work, it feels like the mark of an artist growing into her voice, blending textures and emotions with ease.

Review: Mihail P's 'Multitudes' EP on Analog Concept is a gem for those who appreciate techno with ambient and emotional undertones, aligning with the subtle artistry of Nuron, John Shima, Derek Carr, CIM and Future Beat Alliance. The opener, 'East At Dawn', sets a delicate tone, weaving beautiful ambient techno melodies with hints of electro. Its graceful synths and deep bass resonate with a sense of introspection, creating a lush atmosphere. Another name in this style that is making waves is the fantastic Gilbert. His remix of 'East At Dawn' shifts gears slightly, infusing an upbeat energy and a more tech-focused rhythm while maintaining the Detroit-inspired warmth of the original. On Side-2, 'Paradox Of Automation' balances gentle beats with an intricate, celestial melody. The track's refined production and harmonious layers lend it an otherworldly quality. The EP closes with 'Ghosts Of Tomorrow', a triumphant, melodic composition that feels both uplifting and ethereal, like a final, hopeful transmission from another realm. 'Multitudes' showcases Mihail P's talent for blending ambient techno with emotive depth. Another winner in his discography.

Review: Limo Trax wind down the tinters and shoot us a knowing look through the Wayfarers, as their latest procurement in slick minimal house and techno blares out the limo stereo. This latest addition to their colours series comes in verdant green, and corrals the talents of Milion, Exonym, Dombee and Wodda, all of whom lay down a clacking sonic technic each. 'Tuin Van Bret' exposes the vibe with beeping chords and an injurious party-starting film dialogue sample, as swarthy, silly excitable funk ensues. 'Hagring' marks the A2 with a "gimme dem" sample and moody swells, while 'Brixton' pays homage to the legendary Lambeth area with a speed garage distributary, reminiscent of Serious Danger's earliest movements in the sound. 'Dark N Stormy' perfects this speedy trend, adding expulsive breaks and oozing licks between the four-by-fours.

Review: Miller returns with a standout EP on NRV, blending deep, groove-laden beats with genre-defying twists. A1, 'Liquid Realm', is a masterclass in early 2000s Nubreaks nostalgia, with driving breakbeats and modern production flair that takes you back while pushing things forward. On the flip, 'Hydrate' shifts gears into a sleek, futuristic soundscapeicrisp percussion, fluid melodies, and a tight bassline that builds and releases tension effortlessly. B2, 'There Are Tribes Out There', dives into a primal, rhythmic space, layering organic textures with Miller's trademark precision, offering a track that escapes easy classification but feels right at home in a late-night set. Miller's ability to navigate different styles while maintaining a unified sound makes this EP a perfect addition to his growing catalogue.

Review: Ten years have now passed since Modbox (real name Patrizio Rastelli) launched the vinyl-only Castanea Records imprint, an outlet specialising in minimalistic house and techno. Remarkably, this four-tracker from the man itself narks the label's first - and likely only - release of 2024. He begins strongly with title track 'Cosmic Wind', where echoing synth stabs, gaseous ambient chords and spacey electronics cluster around a crunchy tech-house beat and surprisingly funky bassline. It's basically classical tech-house of the sort you'd have heard in the late 1990s, and that's no bad thing. Elsewhere, we get two takes on 'Acid Galaxy' - Modbox's TB-303-speckled deep tech-house original and a more driving, peak-time-ready Arno interpretation - and the intergalactic, off-kilter excellence of 'Flow'.

Review: Italian house lover Fabio Monesi returns to his Wilson label - named and styled after that unforgettable volleyball in Castaway - with a collab EP next to Tom Carruthers. It's rooted in traditional tropes from the 90s and US scenes starting with the kicking, retro flavours of 'Mi Amor' before 'The Bass Theory' brings on, yep, some more heavy bass-driven grooves. Last of all is the more synth-laden 'Killer Fruit' which is a triumph in drum programming that will enliven any crowd.

Review: Ray Mono steps into his third release for Pleasure Zone, effortlessly blending restrained minimalism with immersive textures. Opening with 'Qqqq', the track introduces tight, rolling loops and a pulsing groove that draws the listener into a rhythmical trance. The low-end growl of 'Ssss' carries a deeper emotional weight, its minimal percussion skittering over layered synths, evoking an air of mystery. As the B-side drops, 'Iiii' unfurls with patient precision, luring the listener into a seamless, shifting landscape. 'Pppp' closes out the journey with its stripped-back dub influence, offering space for reflection while keeping the groove firmly rooted.

Review: Moodena and Charles Levine join forces on Rekids with their track 'Badman', all set to blow up your spot this winter. The vocal mix kicks off with high-energy big room drums, classic house strings, an infectious bassline, and playful telephone samples while Cratebug's remix transforms it into a hypnotic after-hours cut that emphasises dub echoes while retaining the original's essence. On the B-side, Radio Slave reimagines 'Badman' with a low-slung vibe that blends trippy sounds and vocal traces. The EP also includes a dub version that forgoes the original vocals but keeps the classy house heat.

Review: First released by Snuff Trax in 2015, but potentially recorded much earlier, 'U Won't C Me' is one of Mystic Bill's most potent cuts - an analogue-rich hybrid Chicago deep house/acid house cut which sounds like Larry Heard jamming with Adonis circa 'No Way Back'. This Nu Groove reissue naturally features the long-serving producer's original mix, the original bonus track 'Like a Dream In The Night' (a moody, low-slung chunk of warehouse-ready, late 80s style Chicago deep house) and two reworks of the title track. Stefan Bratz ups the acid house factor, reaching for driving drums and mind-mangling TB-303 bass, while Jake Savage's 'Acid Re-Rub' is a jacking, sweat-soaked affair smothered in red-raw acid lines, cut-up spoken word snippets and a ghostly melodic motif.

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


'Lords Of Miami' is a fantastic name for this new one from Domesticated, a label run by one of Berlin's best electro aficionados, Robyrt Hecht. Sshadess, The Coomers, Girlcop and Emscho Shoshe each contribute original cuts ranging from the janky to the smooth, with choice bits like 'Carbonara' remaining unpretentious and not-too-produced, yet also peppery on the glitches. Shoshe's 'Give Up' lends an experiment to vocal booty house too, adding an extra creep factor to the genre with freq-scooping phasers on the sample.

Review: Viewfinder returns to Rescan Records with their third release on the label, a four-track journey through house and techno. The A-side offers two straight-up house cuts, 'Solace' and 'Let Go', featuring infectious grooves, sampled percussion, and catchy stabs. Flip the record over for a techno turn, with 'Roxtone' pushing the BPMs higher and delivering a high-energy workout. Mihail P closes out the release with 'Natural High', a hypnotic blend of breaks, bleeps, and ethereal pads. With its diverse range of sounds and infectious energy, this release is a must-have for any fan of quality electronic music.

Review: Michael Mayer's fourth album, The Floor Is Lava, arrives after an eight-year wait, following his collaborative & album on !K7. Mayer's solo output has always been selective, with each release feeling like a significant moment. His previous albums, Mantasy and Touch, were similarly spaced out, but with good reason. As the head of Kompakt and Imara, a globe-trotting DJ, and a highly sought-after remixer, Mayer wears many hats, and it's no surprise his own productions are more sporadic. Yet, this also ensures quality. His name on a record sleeve signals music that's both forward-thinking and rooted in the past, deftly balancing the demands of the dancefloor and more reflective listening. The Floor Is Lava showcases Mayer's talent for threading together genres and eras while keeping a distinct sense of purpose. Whether it's designed for late-night clubs or a contemplative listen at home, Mayer's sound continues to evolve, pushing boundaries while remaining firmly anchored in his established style. As always, his knack for combining the exploratory with the functional shines through, and this latest offering is no exception.