Back catalogue: All genres

Review: Sir Hiss and 4AM Kru set up a dialogue between London and Bristol, a stellar dialectic giving rise to a supreme form of lo-fi jungle. 'Earshots' samples a bhangra vocal cry, mixing it up with the scratchy factory movements of cut-throat jungular breaks. It marks a break from Sir Hiss' usual grime parlance, and adds to a refreshingly-named new series handled by their parent label Embrace The Real, called 'No More Mailouts', an explicit callout of PR in the electronic music industry which aims to lead by example. Power to em.

Review: Silent Force Records unleash a brand new series SFR Titans and its down to the mighty giant Sicknote to launch it. Naturally he tears the series a new one before it's even started. 'Craw' takes the lead as Sicky links with old mate and long-time collaborator Escher for some tense, emotional volatility. For 'Lates' on the B-side old Notey chops goes solo and takes us proper darkside. Think 'Angel Fell'-era Dilli with a slice of old Digital and you're in the right armshouse. Titanic.

Review: Silent Force Recordings is back with the third instalment in the SFR Titans series. This one features Solaris in top form and delivering a brace of nicely immersive sounds, starting with 'Nemesis' which channels the classic atmospheric Amen sound and is rather reminiscent of mid-90s Source Direct. It's widescreen jungle at its finest. On the flip, 'Poseidon' takes a darker turn with a more rolling rhythm and hard-edged, steel-plated drums that hark back to early 2000s D-Bridge. These are two different but early devastating cuts, and the fact they come on nice orange vinyl makes it a no brainer.

Review: The third Trip release features extended acid narratives from SOUR, the mastermind behind Florence's Warehouse303 club. The producer invites you into his hard-hitting and 90s-referencing acid odyssey from the off, with 'Six Times Three' weaving intricate basslines, deep distortions, and mesmerising synths into something that hammers home the groove but is never austere. After that dancefloor delight, "Mainframe' delves deeper into trippy realms with more warped acid, subdued rhythms and fizzing synth textures. It's a superb exercise in making a maximal impact from minimal elements and is one that we thoroughly recommend.

Review: Ste Roberts, under his STEDIT alias, has been building a reputation for taking beloved classics and flipping them on their head. This latest release is no exception. Two synthpop anthems, once the defining sound of an era, have been reimagined, reworked, and unleashed across dancefloors all summer. It's not about the big-room bombast or predictable edits that cater to easy thrills. No, Roberts is more nuanced than thaticrafting something that feels at once familiar and alien. The first rework, Depeche Mode's 'It's No Good,' is a masterclass in restraint. The track's dark undertones remain, but Roberts pulls it into a gritty, subterranean space. It's a slow burn, keeping the tension tight while the vocals float above a relentless, pulsing beat. Then comes the flipiHuman League's 'Don't You Want Me.' What was once pure pop joy is now something altogether darker, more elusive. Roberts has stripped it back, laying bare the iconic vocals against a stripped-down, funky groove that simmers beneath the surface.

Review: Whoever is behind these STEDIT drops is striking upon pure gold, bringing a legitimately underground techno crunch to the pop edit practice. Having previously tackled the likes of Brandy & Monica and Ultra Nate, now two of the biggest pop divas of all time are getting some low down and dirty reworkings which tread the fine balance between earworm familiarity and the heads down moodiness of a locked-in dancefloor. 'Slow' becomes a slippery acid abstraction peppered with all kinds of sonic freakery, while 'Justify My Love' becomes a brooding, steadfast workout tipped towards the minimal crowd.

Review: An up and coming producer and more known for his dub techno roots, Stojche shifts gears with three tracks of futuristic techno. Bringing a harder, more pounding techno sound to Mutual Rytm, the title track, 'Stomping Ground', hits with catchy chords and a strong, dancefloor-ready rhythm, complete with infectious hooks that keep energy levels high. Side-2 begins with 'Oberheim' a percussive, melodic builder with a heavy beat that captivates with its addictive groove and some gorgeously dynamic layering. The EP closes with 'Consequence', a spacey, floaty track that lays beats over a shimmering, providing an outstanding end to a great release.

Review: The Top Secret label keeps things tight once more with a pair of very different jams, but both are going to get huge reactions when dropped at the right time. U first is 'Get Criminal' which is a rework of an MJ classic with his smoky vocals reusing by scene else in a more unsettling fashion and the original drums run through with some futuristic and molten melodies. On the flip is 'Eurotrance', a good old-fashioned piano rave-up with belting vocals, trance synths and euro dance drums. Lovely, fun, accessible and effective.