Review: Utter wildness ensues, and the dancefloor is left tarnished. After the success of their last release together, 'Mirazh', Thomas Schumacher and A.D.H.S. reunite for a potent follow-up, both bottling and jarring the essence of Berlin techno. Simplicity abounds on 'Ex Machina' - perhaps alluding to the portentous Alex Garland film of the same name whose artificially intelligent omens will never leave us - as repetitious carnival drums blend madly with a semaphoric, high-octave melody. 'Umbra' and 'Morbida' are of course wicked techno accompaniments to boot, but in our view, it's really the A that risks most for the biscuit; we're sure you'll love it.
Review: This orange 7" is a miniature monument to one of soul's most quietly influential figures. Roy AyersiLos Angeles-born, jazz-schooled, funk-mindedicrafted 'Everybody Loves the Sunshine' not to dazzle but to dissolve. It moves with a drowsy clarity: shimmering synth, near-whispered vocals, and a lazily tumbling bassline that never quite lands. Released during a golden run of Ayers' mid-70s material, the track has since become shorthand for warm-weather introspection, equal parts ease and ache. The instrumental version on the reverse keeps the spirit intact, offering a meditative glide through the same terrain. Limited to 300 copies, this orange pressing pairs a low-lit groove with a deepening sense of legacyiAyers' influence isn't just heard, it's felt in the space he leaves behind.
Review: Roy Ayers at his most transcendent. 'Everybody Loves the Sunshine' is more than a summertime anthemiit's a spiritual moodboard that's shaped jazz-funk, soul, r&b and hip-hop for nearly 50 years. Ayers, born in Los Angeles and raised in its fertile fusion scene, places the vibraphone at the music's heart, coaxing heat-haze tones from sparse chords, synths, and that honeyed chorus. Flip it over and the instrumental version unlocks a deeper layer: stripped of vocals, it becomes a pure groove, drifting and hypnotic. What lingers is the balanceibetween melancholy and bliss, rhythm and release. A rare track that feels entirely unhurried yet quietly radical, now preserved in a limited pressing that looks as golden as it sounds.
Review: Few recordings capture the easy intensity of a summer afternoon like 'Everybody Loves the Sunshine'. Released in 1976 and wrapped in slow-drifting synths and soft falsettos, the track became a touchstone not just for Roy Ayers, but for 70s soul and beyond. Born in Los Angeles, Ayers helped define the jazz-funk crossover, placing the vibraphone at the centre of a sound both hazy and sharply detailed. The original vocal take on the A-side still melts under its own warmth; the instrumental on the flip uncovers the careful architecture beneath. Issued here on 7" black wax following Ayers' recent passing, this reissue feels like both a keepsake and a quiet honouring of an artist who shaped a whole way of listening.
Review: Alt-dub never quite found its mainstream moment, but for those attuned to its intricacies, it remains a defining undercurrent in electronic music. Unlike its dubstep cousin, which relied on aggressive basslines and in-your-face drops, alt-dub takes a more measured approach, focusing on subtlety and complexity. It's about crafting a vibe, not smashing through it. San Francisco-based artist Federsen has been a pivotal figure in this niche for over a decade, using vintage tape delays and analogue gear to build immersive, textured soundscapes. His work with labels like Silent Season, Greyscale, Lempuyang and Ohm Series perfectly embodies how dub's elements of space, decay and resonance can be transformed into hypnotic, dancefloor-driven rhythms that unfold slowly. Tracks like 'Dub Trail' and 'Silent Whispers' reflect Federsen's signature approach: slow, deliberate builds, where the bassline is felt more than heard, and the subtle shifts in atmosphere draw us into the groove. It's not about immediate impact, but rather about crafting a space where the music breathes and where the transitions are felt as much as they are heard. 'Echoes In The Void' pushes this idea even further, with its dense, evolving layers of sound, while 'Lunar Dub' offers a more stripped-back, meditative experience. Through Federsen's work, the genre stands as an exploration of depth and atmosphere, where every moment of silence and every drawling transition plays an integral part in the experience.
Review: Let's step back in time as Future Retro reissue this walloping four-piece from 2023. A multi-mate affair, the entire 12 is packed with contemporary jungle talent. On side A we have the German misfit Chromz going toe-to-toe with bossman Reaper on two ice cold cuts. 'Forever Dubbed' is a dreamy, choppy serenade with more unexpected twists and turns than an AI drawn hand while 'Diff Selection' is all about that rattling snare. Flip for two startlingly fresh cuts from Bristol badboy Artificial Red; 'Subconscious' is all about those big splashy drums and cosmic whirls while 'Something I Know' sends us off to other planets as the EP comes to an end. Solid.
Review: Amulanga, operating out of Thailand, emphasise beauteous atmospheric progressive house, pairing each compilation with exquisite, extra-worldly sci-fi themes. Their latest, sixth vinyl V/A hears additions from Dulus, Acrobat, Ilias Katalenos & Plecta, Taleman and Shri & Alej, each track a seamless infusion of living, writhing organic sound. More than just music, the aim is to imply a narrative, shuttling and transforming listeners over and beyond centrifugal, interplanetary orbits - not just dancefloors.
The Way You Love Me (Dim TSOP version - Dimitri From Paris Glitterbox retouch) (8:14)
The Way You Love Me (Tom Moulton Philly Re-Grooved remix) (12:54)
Review: Some may argue that Dimitri From Paris and Tom Moulton have already provided the definitive remixes of Ron Hall, the Muthafunkaz and Marc Evans' 2006 gem "The Way You Love Me". This Glitterbox 12", which features alternative versions of those two legendary reworks, proves that they're wrong. Dimitri's "Glitterbox Retouch" of his Philadelphia International-inspired TSOP Version is a little more focused and tightly edited than its predecessor, but naturally incredibly similar. It's Moulton's "Philly Regrooved Mix", though, that's the real stunner. A near perfect example of Moulton's classic mixing skills, it sees the original disco mixer give space to each instrumental solo before unleashing the now oh-so-familiar vocal. The result is 13 minutes of unashamed disco bliss.
Review: The Top Ranking crew has pulled another doozy out of the bag here. Freddie McKay's 'Mope & Cry' finds the vocalist at his most vulnerable and expressive. It was originally released in 1974 during the golden era of Jamaican music and is steeped in rich harmonies with a rolling bassline with gently skanking guitar that cushions McKay's aching vocals. With a voice that effortlessly conveys sorrow and resilience, he delivers a timeless tale of love lost and emotional survival. The killer dub on the flip makes this one a no-brainer.
Review: The fact that this is the 13th release in the Ohm series catalogue need not impede the assurance of quality by way of superstitions about unlucky numbers. New ones from Modernism, Tim Kossmann, Bec Kaczor and Kirill Matveev work through gassy textures that rasp against negative, membranous moulds, be this on the understated, unassuming 'Love Goes' or the neurotransmissive 'Deserve Rage'. Bjarnar Jonsson has a good radar for talent, and does a bang-up A&R job on this resistant, reactant techno comp.
Jauzas The Shining X Foreign Sequencer - "Enter The Body" (4:03)
Teslasonic - "Chubby Bee" (5:13)
Igors Vorobjovs - "For One" (4:40)
Review: Gladio Operations continues to bolster its catalogue with an international five-track set showcasing both label newcomers and trusted affiliates. Protocolo Sysex, the new alias of Madrid's Fabio Vinuesa, sets the tone with 'NotTheFuture'ia dense, adrenalised workout packed with rugged basslines and twitchy sequences. It's a fierce opener that signals the label's club-facing intent. Sinitsin, hailing from Russia, debuts with a moodier, machine-led cut, its melody work striking a balance between precision and drama. Jauzas the Shining returns alongside Foreign Sequence, offering a cold-blooded, cinematic highlight with shadowy synths and detached vocal fragments. Teslasonic's 'Chubby Bee' acid-kissed electro is quick and wiry, while Igors Vorobjovs brings the EP to a poignant close with a brooding IDM coda rich in ghosted textures.
Review: Glispy Records makes a strong vinyl debut with a four-track showcase of Georgia's deepening electronic talent pool. Tbilisi producer Reshio opens with 'Electronic Mind', a high-octane blend of punchy electro and precise sequencing, setting the tone with clinical flair. Toke follows with 'System 32', a rolling groove machine laced with dubby atmospheres and smart modulationiweighty but agile. On the flip, DJ Astrobee injects some swagger into proceedings with the rugged, percussive funk of 'Elvis The Gator', full of low-end heft and filtered bite. Label co-founder Levan Grdzelidze rounds off with '84 Slave', an acidic slow-burner that builds intensity through tightly-wound layers. A confident and well-curated start to the Glispy vinyl era.
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: T Jacques and Velvet Velour apparently made the opener on this new EP some time ago and thought it was lost. It has recently been rediscovered and we couldn't be happier: 'Hot Hands' is spaced out industrial cosmic tech with synth lines carving neat parabolas and crispy drums bringing the funk. Both artists then go it alone for one cut each: T Jacques's 'Deep Blue' is buffed up deep house with an electronic edge and whimsical synth motifs, then Velvet Velour's 'What U Like' has a playful and restless groove daubed with neon colours and sensuous vocal whispers.
Review: Born in Buenos Aires, Argentina, but currently based in Amsterdam, Augusto Taito debuts on Renegade Methodz with a fierce techno EP that cements his rising status. Taito brings the intensity and rawness here with pounding rhythms that build on solid previous releases on Mord and Tar Hallow. Opener 'Rampage' is all tom-laced techno pressure that never quits, 'Endless Flow' twitches with sci-fi edge over thudding drums and 'Intuitive Force' gets dark and menacing. 'Arena' is bold, stripped-down, and built for dark rooms and heavy systems. With a sound that's unmistakably his, Taito delivers techno at its most uncompromising here.
B-STOCK: Sleeve scratched and torn but otherwise in excellent condition
Other World (7:42)
Dolce Julia (7:13)
Voice Of Omicron (6:35)
Monkey Key (6:00)
Review: ***B-STOCK: Sleeve scratched and torn but otherwise in excellent condition***
A strong, strong showing from Duca Bianco after a period of relative dormancy, teaming up with Manchester's Talking Drums for a musical culture clash with maximum impact. The four tracks see a wide palate of influences being mixed up, from the cheeky Afrobeat shuffle of 'Monkey Key' to the 80s electropop of 'Voice Of Omicron' and the Nico-esque vocal delivery on Balearic groover 'Dolce Julia'. This is an EP with lots of surprises, tons of originality and musical confidence brimming over its edges.
York - "The Wave (Is Coming)" (Back To The Roots extended mix) (7:57)
Talla 2XLC - "The Wave (Is Coming)" (extended mix) (7:09)
Review: Talla 2XLC and German composer, producer and songwriter Torsten Stenzel (who is still best known for his work as YORK) revive the 1997 trance classic 'The Wave' by Sosa with a big new remake that realigns it with contemporary sounds. Landing on bright coloured vinyl via Technoclub Retro it has two extended mixes that reignite the energy of the original with brilliantly euphoric flair. On Side A, York's 'Back to the Roots Extended Mix' has already been getting heavy plays in clubs and on festival stages around the world with its high-octane melodic rush an utter thrill when played nice and loud. Side B brings an exclusive new remix by Talla 2XLC that is only available on this pressing.
Review: Amsterdam's Bordello a Parigi's ongoing Diamonds In The Night series has not only proved to be a reliable source of new - if authentically old sounding - Italo-disco, Hi-NRG and proto-Eurodance, but also a brilliant platform for new and up-and-coming artists. Volume seven in the series is another strong offering. It begins with the tops-off, melody-driven Hi-NRG joy of Tallac's 'Chemtrail Surfers' and concludes with the vocoder-heavy early morning dark bew wavce disco of 'Disco Homicide' by Hypersensitive. Sandwiched in between you'll find the tough, throbbing, strobe-lit and sweat-soaked hedonism of Luksek's 'Tropicale' and the Bobby Orlando and early Pet Shop Boys influenced excellence of 'That Moment' by Francesco Cascella.
Review: Telefax Productions - mysterious musical masterminds formed by veteran producers with roots in the late 80s - finally drop a vinyl release of their 2024 breakout club anthem, 'Break This House Down'. It is an unashamedly revivalist hip-house banger backed by proper DJs like Honey Dijon and Luke Solomon and features fiery verses from rising Buffalo MC DeeVoeNay. Alongside the flame-hot original is a live band version with HR Nightmare, plus a rough and ready bruk remix from London's EVM128 and last but not least, a visceral acid house rework. This is a perfect example of how you balance nostalgia and freshness and do it right. The package is finished in style with fine artwork by KLF legend Jimmy Cauty.
Review: In a dimly lit room in Dalston, the crowd is entranced as Finnish jazzman Jimi Tenor commands the space by blending smoky sax, wild Moog lines and a hypnotic electronic groove. When the track ends, he muses aloud, unsure what to name it. A voice from the crowd calls out, 'Release Me!', and so it began. That spontaneous moment sparked a very special release on Fluid Ounce, celebrating 25 years of the label with a limited edition vinyl from the iconic multi-instrumentalist. Chris Vogado (zero dB), under his new alias Special Guest, delivers a bruk-meets-house remix plus a dub B-side. A lovely 12".
Review: Back in 2018, artist Omar "El Oms" Juarez introduced the world to Marie and Necalli, then known as Thee Lakesiders. Sensing something special, he linked them with Big Crown's Leon Michels and The Shacks and together, they recorded 'Parachute,' a soulful gem that became a cult classic and sparked a new wave of modern soul. The original 7" sold nearly 10,000 copies and its music video racked up over 15 million views. To celebrate its seven-year anniversary, the label has now assembled this special edition of 'Parachute' and its instrumental version on transparent green vinyl, complete with El Oms' artwork and guaranteed no represses. Once they're gone, they're gone.
Review: Martyn Hodgson (Tijn) and Daines (real name not known) have been mutually favourite collaborators within the experimental minimal techno scene in London since at least 2019, when the pair first crossed streams for Moss Co's eleventh for the 'Archway' EP, dedicated to the unmistakable North London district. Then came 'Aesthetic', a black vinyl interloper with revolutionary undertones, and now finally in 2025 comes 'CVS 008' for Curtea Veche, the voltage controlled UK outfit named after a Wallachian-Romanian palace built in Dracula's time (yes, that Dracula). On 'So Mad At You' and 'Excuse Me', we hear dreamy and fog-filled orbs of sound float before our ears, emitting juts of twiglike percussion and sheet metal gong sounds, worked around studious oneiric beats and swirling, timestretched vowel sounds.
Review: TNT Rap Classics are a ghostly rap reissues outfit, operating in the shadows, but they've churned out a truly solid ream of stadium/megastar rap reissues on 7" for several years now. After lookbacks on Nelly and Beyonce they now pay due deference to Eminem, placing special attention on the rapper's early-noughts Slim Shady era. 'Without Me' was the whimsical, cheekily intoned lead single from The Eminem Show, finding Eminem lampooning pop culture, the media, and his critics. 'The Real Slim Shady', meanwhile, came before, with biting critique of the pop cultural fascination with authenticity: "Will the real Slim Shady please stand up?"
Review: Hailing from Tokyo, Satoshi Tomiie emerged in the New York scene after Frankie Knuckles discovered him and his debut record, 'Tears' in 1989, was co-produced with Knuckles and featured Robert Owens. It is a dance music classic and as part of Def Mix Productions with David Morales, Satoshi crafted iconic 1990s remixes for artists like Madonna, Mariah Carey, and Inner City. Here collaborating with Ibiza's Tuccillo, Satoshi created 'Delta Dubs', a live, one-take dub house project recorded on a Soundcraft Delta desk. This tribute to dub's pioneers reimagines the essence of dub with a futuristic twist that lands courtesy of 20/20 Vision.
Review: Electric Ballroom proudly introduces Tommahawk, a rising force from Germany's next generation of peak-progressive house producers. 'Unfolding' lends a heart-in-mouth pre-drop choir motif to an antecedent stab centrepiece, whose vestiges linger long after the refrain tapers off. Label head Thomas Schumacher remixes the track in airier and floatier tones, meanwhile, creating an abiding minimal progressive ballast to contrast the A-side's intense eschatology.
Review: Tommaso is an exciting young talent who has brought plenty of freshness to the underground scenes of both Florence and Chicago. Now he debuts on Rocksteady Disco with more of his signature organic and soulful sounds. This one kicks off with 'G Class' which is a peak-time house pumper with lovely liquid bass and sunny strings. 'Fierro Viejo' is more twisted with rumbling bass and a peppering of percussion that will twist dancers inside out. 'Giente Que' is an arp-fuelled Italo-inflected banger and last of all is the more slow, seductive and absorbing sound of Snake Pit' for late-night lovers. Another fine EP from Tommaso.
Review: The rather enigmatic Tonearm is back with a new transmission that is clearly inspired by the ambient innovations of AFX. Innocent synth modulations, naive keys and thinking patterns all bring futuristic AI visions of peaceful utopia to life on 'Minerva', which is a beatless delight. 'Luminance' has a deeply buried rhythm and sustained chords that hum up top, then 'Isko' has cascading melodic rain and hurried rhythm suggestions way off in the distance. 'Ilthat' allows a moment of hope and joy with its brighter synth colours deftly looped and ever shape shifting. A quiet, impressive future sound full of nostalgia.
Review: New York soul quartet The Topics never found the spotlight they deserved during their short run across the 60s and early 70s, but this sharp 7" reissue offers a long-overdue glimpse at their brilliance. Both cuts originally surfaced in 1973 via Mercury, the only major label to back the group before they vanished into obscurity. 'Booking Up Baby' is a slick, string-laced dancer co-produced by Dennis Williams, best known for work with Teddy Pendergrass and the O'Jays. On the flip, Van McCoy's 'Giving Up' gets an opulent, emotionally rich treatmentidelivered with the polish and pain of top-shelf crossover soul. Both tracks ooze sophistication, driven by harmony-led vocals and lush instrumentation. Given the scarcity of original pressingsione recently went for L850ithis reissue is not only a collector's dream but a chance for wider ears to catch up with two underrated gems from the golden era of American soul.
When You Look At Me (feat Javonntte - An Abacus Story) (7:05)
When You Look At Me (feat Javonntte - Late Night dub) (6:16)
Run The Numbers (6:17)
Review: Ascension on Wax tap Toronto Hustle & Sean Roman for their third release, a slick four-tracker pulling heavy influence from *that*argent 90s US-East Coast deep house sound. 'The Unity' lands with some pedigree, where recent drops on Wolf, Local Talk and Freerange have mounted this pairing firmly in the frame. Javonntte lends his unmistakable Detroit flow to the A1, which also gets a shimmering rerub from longtime Prescription associate Abacus. Flip for a late-night dub version that leans into tougher territory, before closing out with a heads-down deep house cut built for sloppily recalled nights.
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