Back catalogue: All genres

Review: FaF's Marseille-based label Durite has assembled another Various Artists compilation full of global soundscapes inspired by Middle Eastern rhythms on one side, while the other blends psychedelic Japanese and Chinese samples into trippy, atmospheric cuts. Italian producer Nativo balances deep house and electro with worldly flair, French artist Pagenty keeps ting dubby and slow with snaking leads and hiccuping drums. Fellow Frenchman Blinkduus Dischetto sparkles with raspy synth leads and celestial keys and Crane De Poule then serves up 'Lucky,' the clear EP highlight with its hurried Eastern Melodie and vocal samples over a clipped and tight tech beat.

Review: Fresh from dropping a fine stream of loopy filter house fun on their own Jolene Records, The Parton Brothers fire up the dancefloor with their sizzling debut on Pomme Frite and channels classic French touch vibes with style. Danny & Mike deliver cuts that could have easily slipped out of the Roule camp in the late 90s here with tracks like 'Extraball,' 'Gemini,' 'Luniz' and 'The World Without You' packed with crunchy disco loops, rich filter-funk and irresistible groove. It's a tribute to that beloved French house sound we all know and love - warm, raw and homemade with love. A must for vintage deep house heads.

Review: Peverelist stands as a defining figure in UK electronic music, shaping the intersection of bass-driven sound system culture and forward-thinking techno. Emerging from Bristol's fertile underground scene, his work as a producer, DJ and label head has been instrumental in pushing the boundaries of UK dance music. Closing out his long-running series, he distills his signature sound into four meticulously sculpted tracks. 'Pulse XVII' bookends a skeletal, stepping groove with shimmering synth strings and crisp chord stabs, injecting a dose of Motor City euphoria into his typically weighty framework. 'Pulse XVIII' strips things back to bare essentials, constructing a taut, jacking house cut from pulsing low-end and precisely placed percussionia masterclass in restraint and impact. The energy escalates with 'Pulse XIX', where dub techno textures are reworked into something sharper and more urgent, its rolling momentum underpinned by a driving rhythmic core. 'Pulse XX' then flips expectations, shifting into leftfield steppers territory with elastic bass motifs and alien hooks, recalling the producer's earlier experiments while pushing his sound into fresh terrain. It's a fitting conclusion to a project that has consistently balanced dancefloor functionality with a forward-thinking approach.

Review: C&C Music Factory lynchpin Eric Kupper takes on 'BackStabbers' with a considered touch, reinforcing its groove while preserving the essence of its original 1982 recording. Captured at Virtue Studios by a powerhouse ensembleiincluding MFSB and Salsoul Orchestra greats like Earl Young, Ron Baker and Vince Montana, Jr.ithis session defined the lush, orchestrated soul of Philadelphia. Joe Freeman's lead vocal remains the focal point, its urgency cutting through Kupper's updated mix, which tightens the percussion and adds a refined low-end punch. Side A presents the vocal mix, where the track's layered instrumentation breathes with new clarity, while Side B strips it down to an instrumental, letting the intricate arrangements shine. US-based Kupper, a veteran of over 1,400 remixes, treats the material with the respect of a historian and the instincts of a modern dancefloor craftsman, balancing nostalgia with crisp, club-ready sonics.

Review: Marcellus Pittman is one of the Motor City's finest. The long-time house explorer has a singular sound that is built around brittle drum loops, hissing and dusty hi-hats and loose-limbed arrangements that are stark and dehumanised but somehow full of intriguing machine warmth and soul. Take this EP, 'Loneliness Leave Me Alone,' first dropped back in 2010: the title cut has bouncing, bulbous bass and jacked up drums that sound both menacing yet playful, which the fizzy, sugary chords spray across the mix like a mist of pixelated water. 'Razz 09' has that Omar-S style melancholy and trudging rhythm that's heightened by the curious melodies which unfurl with a mind of their own in the background. Superb.

Review: DBH welcome Mihai Popoviciu & David Delgado the the Pleasure Zone series with the 'Evolution' EP. Bringing jazzy, sloshy, jerking flavours to the tech house palette, 'Evolution' and 'Shifting' evolve and shift, convoking a delegated moot of propulsive chords and forward-driving janks, conveying the mood of a finely tuned closed clockwork system chugging away like the central engine of a wider contraption. Closer 'Black Light' operates more readily in the lower regions of things, proving unafraid of sounds that lean towards the more peripheral and umbral.

Review: This isn't an EP of house tracks crafted in the mid 1990s by the late member of the royal family, but rather a dive into the back catalogue of New Jersey producer Heeley Calator of SMACK Productions fame. In keeping with much of Heeley's work, the four tracks on show (all originally released in 1994) are undeniably X-rated and full of sexually-charged vocals. Check first the 'Instru-Beat' mix of 'Whose Dick Is This', a rolling, low-slung and lightly soulful garage-house workout, before admiring the warmer, dreamier and jazzier 'What's My Name (The Tribe & Friends Mix)'. Over on the flip, WOLF has served up two takes on 'Big Dick - Mutha F*cka': the percussively dense, organ-rich New Jersey garage heaviness of the 'Sample Mix' and the stripped-back tribal house headiness of the 'Drum Mix'.

Review: Seasons Limited made a welcome return in 2024 and now keeps up that good momentum with another big single from French house mainstay Franck Roger with some fine vocals by Paul B. It's a super smooth sound with drum swaying back and forth, molten synth adding late night and tissue soul and the tender vocal adding intimacy and late night romance. Rocco Rodamaal steps up for remixes and first of all he pairs things back to a sedate, seductive deep house roll then fleshes out the drums with some dubby weight to finish.!

Review: Finland's Common Labour label unites four different producers on the fourth volume of its Odd Jobs series, and each of them goes deep in their own inimitable way. Omar Santis begins with an unhuried and smoky dubbed out house with wispy pads and subtle vocals on 'Pinoki.' Flabaire ups the energy with some slick, tightly programmed but smooth drum loops that bounce freely beneath warm pads which infuse the mix with soul. Thomas Wood's 'All It Takes' has molten bass and liquid synths for a dub house delight on 'All It Takes' and Potholes's 'Bromsman' is the headiest of the lot with DJ Koze-style melodic whimsy.

Review: Italian DJ and Producer Jo Paciello proves that full length album do very much still have a place int he modern world wit his superb debut on Groove Culture. The title of this one gives you an idea of what to expect - jazzy melodies and sophisticated house beats. He does so with a modern viewpoint but also plenty of reverence for the glory days of jazzy house. Trumpets, saxophones and guitars all feature here and embellish the drums with quality, meaningful layers of melody adn mood. As he merges the past and present, this richly textured work shines with improvisation and timeless deep house warmth.

Review: Inspired by his neon-lit walks around London's docklands, crate digger Ilan Pdahtzur's 2019 compilation Night City Life marked him out as a dusty-fingered crate digger and record collector with a distinctive, synth-heavy musical vision. It made him the toast of the selector/collector community, but more than that it was a genuinely superb selection of obscure, hard-to-find cuts. This belated sequel is every bit as essential and filled, unsurprisingly, with rare and lesser-known gems. Highlights are too plentiful to mention, but our current favourites include Sharon & Tracey's 'The Sheik' (a belly-dancing inspired slab of TB-303 bass-driven house hedonism), Jennifer's 1992 Euro-house gem 'Come Into My Life', Scicilian musician Claudio D'Ignoti's boogie-era treat 'Ache Per Noir', and the fashion scene inspired leftfield synth-pop of Lena's 'Embrasse-Moi (Strumentale)'.

Review: Marking its 25th anniversary, this gem of a reissue reminds us why it's considered a landmark in the evolution of Balearic and Latin-infused house music. Building on the ambient sophistication of Meridian, Since Then sees Pooley embrace a brighter, more joyful palette that is steeped in Latin rhythms, breezy island instrumentation and a deep love for the dancefloor. Albeit a sandy dancefloor. The self-titled opener and single, 'Since Then', is a sun-kissed blend of balearic house and relaxed ambient textures, offering an inviting welcome into the album's glowing soundscape. 'Bay Of Plenty' drips with tropical charm, its lush chords and rich horn section infusing a magical emotionality, while 'Venasque' is an energetic blast of street funk, Latin pop and club urgency. 'Coracao Tambor' keeps the tempo up with an irresistibly playfulness and catchy without losing any depth. 'Balmes' is pure summer distilled, a late-night anthem with shimmering melodies and irresistible swing. '900 Degrees' was one of the album's biggest singles. It is a floor-filler with an unforgettable bassline and undeniable heat, while 'Sundowner' closes on a softer note, nodding back to Meridian's ambient roots with ethereal grace.