Back catalogue: All genres

Review: Ohm Series #10 continues to be a shining example of the remarkable work being done in the dub techno genre, consistently featuring top-tier producers who excel in their craft. On Side-1, Monomood kicks things off with 'Spring In Space,' a track that boasts deep sub-bass hits and long, blending chords. Its strong kick and clean production make it a powerful example of dub techno at its finest. Following this, Octal Industries delivers 'Rewind Repeat,' a piece that layers epic strings and a soaring melody over an abstract broken beat. Powerful and evocative! Side-2 opens with G-Prod and Taho's'"Light Forest,' an uptempo dub techno track with a techy edge. Its smooth production and dancefloor-ready vibe make it a seamless fusion of technical prowess and groove. Closing out the release is Gradient's 'Track 4,' which offers classic dub techno sounds. Gradient's exceptional craftsmanship is evident in this track, which epitomizes the lush textures and hypnotic rhythms that define the genre. Overall, Ohm Series #10 upholds its reputation by delivering high-quality dub techno that resonates with both purists and new listeners alike. This release is an ideal example to the innovative spirit of the genre.

Review: Avidya is back with a third EP to build on the head-turning success of the first two and it is another trip to the outer edges of the dancefloor. Odopt from Born Free and 777 Recordings kicks off with a snappy cut that is deceptively simple but devastatingly effective with its gurgling and acidic bass. Remotif is a fast-rising talent who impresses with the heavy techno sludge of 'HAJKSD15' and Full Circle aka Alexis Le Tan and Joakim link with Kris Baha to offer a remix that is all twitchy electrons, busted drum loops and fizzing pads before 53X's 'Simulaatio' is another brilliantly loose jumbled of wiry electronics, sci-fi effects and techno chug for a fantastic closing beatdown.

Review: Motor City great Omar S is not just a don when it comes to programming drums and laying down his irresistible synth lines and heart aching melodies. He can also play a wide array of instruments, and in fact does just that here as he plays all instruments played you can hear across all three cuts of this new one on his FXHE label. Things kick off with the wonderful 'Featuring Omar S (instrumental)' and then 'Sayoungaty Nig' is a hazy, lo-fi ambient sound with occasional synth smears and a barely-there rhythm implied by the odd kick drum sound. 'Featuring Omar S' is a signature deep house joint with bristling metal hi-hats, rickety drums and edgy drones that keep you on edge as more soulful chords rise up through the mix.

Review: Murray Clark, Chris Deverell, and Robert Ellerby have been responsible for some genuinely inspiring electronic music over the years, their instrumental approach to downtempo and avant garde synth stuff originating in and among the fertile bounty of new ideas that was the early-1990s. On Hear My Mind, the trio - AKA Opik - take us deep into their DAT archives to see what's hiding in the darkness. Two tracks, both equally stunning, 'Hear My Mind' opens the pair with a slow burning, jazz-influenced atmosphere builder, reversed-out harmony floating over stepping bass loop and distant ethereal vocals. 'Kaulsoum' goes for something even more late night and subtly euphoric, growing and developing into a bold and beautiful slice of rave-hued ambient.

Review: Baz Bradley and A Girl Called Kate team up to make Orbs Of Light, cementing their decades-long collaborative synergy with a slice of contemporary Balearic beat. 'Billion Days' hears Kate loll through a resolute vocal line, as its production opens up an ever-expansive beach-bound vista, whether by sequenced steel pans or synths. The 10" also includes remixes by 40 Thieves and Mind Fair, who add their own twists to the original.

Review: There are not very many labels that are as successful and revered in electronic music as Mood Hut is, coming up with gem after gem after its inception in 2012. 'Water Seeds' by Oro Azul offers four tracks that range from sub-aquatic, mellow and relaxing to tribal percussiveness that really takes things to another level. A little more chilled out than their normal output, perhaps, but certainly not a massive departure, there are some serious island vibes here.

Review: On 2013's History of The Future, Alex Paterson looked back at The Orb's most productive and critically acclaimed period, between the ever-changing band's formation in 1989 and the end of their 'major label adventure' at the tail end of the '90s. This second instalment - released ahead of a new album in the summer - brings the story bang up to date, gathering together Paterson and company's best productions since the turn of the millennium. For the most part, it's business as usual, with the former Killing Joke roadie and longtime production partner Thomas Fehlman joining the dots between sample-heavy downtempo grooves, dub, melodious techno and '90s style ambient house (the second disc, which focuses mostly on this style, is particularly enjoyable).