Back catalogue: All genres

Review: The classic 1982 funk anthem 'Don't Fight The Feeling' by American r&b and funk band One Way gets a fine 12" pressing here, which means it can be played nice and loud. Singer Al Hudson leads the way with his buttery vocal, while a stepping and broken rhythm with lovely dry claps and w sloppy synth squeal make for a pretty unique sound given when this was first recorded. On the flip side, Windjammer's 'I Thought It Was You' offers a more mellow, melodic contrast full of the band's signature blend of r&b and jazz with cooing, heart-melting vocals and a nice stepping rhythm that lovers of UK street soul will surely be drawn to.

Review: The legendary Detroit house maestro returns with a fresh batch of deep house gems that exude soul and finesse. The EP kicks off with 'Dusk Runner', where melodic keys dance over a subtle, jazzy undertone and a gentle funk that keeps the groove smooth yet vibrant. 'What I Gotta Do' picks up the pace slightly, blending vintage melodic sounds with a deep bassline that keeps things grounded, offering a classic yet refreshing vibe. On Side-2, 'Get That' delivers hypnotic, soulful energy with gentle rhythms that feel both soothing and invigorating. It's a track built for those blissful, sun-kissed moments. Closing out the release is 'Your Love Is', a track drenched in atmospheric richness, with airy melodies and a midtempo flow that invites deep reflection while keeping the dancefloor warm. Overall, this EP is a step above many in this style, blending crisp rhythms, soulful melodies and that unmistakable Detroit touch.

Review: Detroit's Rich Wade is a human production line of always effective and subtly charming house music that provides a great foundation for any set. He is a master of cooking up delightful loops and deploying them to perfection so that you cannot help but get swept up and taken along for a ride. 'Contact' kicks off here with his signature drums and jazzy melodies that bring a playful edge. 'Low Down' brings funky bass wiggles and disco styled percussion and 'Fade Away' lands with a heavy, sweaty throb while the Philly disco strings add a touch of class. 'Night Chaser' shuts down with a more introspective feel and some emotive chords that heighten the last night mood.

Review: Donna Washington, a legendary soul singer from LA, is known for hits like her duet with The Dramatics' LJ Reynolds, 'I'm Into You.' However, just as good is 'You Can't Hide From The Boogie' is a disco classic that got revived amongst heads after it featured on Boogie Times Presents The Great Collectors Vol. 8 in 2008. Now, it's getting its own standalone 7" pressing and is a high-energy, funky gem complete with powerful horns and driving drums, all perfect for the dancefloor. On the flip side, Linda Clifford's 'Build A Fire' delivers a more seductive, deep boogie sound, showcasing the enduring allure of 1980s disco and boogie music.

Review: Donna Washington is a US soul singer from LA who had a number of big hit including her duet with The Dramatics' LJ Reynolds, 'I'm Into You' 'You Can't Hide From The Boogie' is a disco gem that featured on the Boogie Times Presents The Great Collectors Vol. 8 compilation back in 2008 but now get its own pressing on a standalone 7". It's leggy, glossy and a real lung buster with funky drums and big horns. Linda Clifford's 'Build A Fire' is another track from the 1980s boogie and disco era that still bangs but has a more deep, stripped-back and seductive sound.

Review: Bobby Donny's ongoing ACE series of vinyl releases has thus far delivered some genuine deep house treats. This is particularly true of the Dutch label's sporadic, compilation style EPs, which tend to showcase tracks previously released on digital-only EPs. There's plenty to set the pulse racing on EP number four, with highlights including two fine collaborations between label founder Frits Wentink and fellow Amsterdam scene stalwart Malin Genie (the sub-heavy peak-time bounce of 'Ambrosia' and the techno-tempo hypnotism of 'Exopaq'); the ultra-deep two-step house shuffle of 'Comet (Deep mix)' by ZZ Banks; the Italo-house influenced colour of Clovis Chilwell's 'Don't Let The Night End'; and the deep, hazy and dubbed-out brilliance of 'Slow Burn' by Rico Scott.

Review: Raised on gospel in Mobile, Alabama, Lynn White's path to soul stardom began in Ike Darby's record store, where her habit of singing along to the songs that boomed from the speakers spiralled into a recording deal, not to mention eventual marriage with the store owner. Her 1978 debut on Darby wove a string of local releases, but it was her smouldering 1982 single 'I Don't Ever Wanna See Your Face Again' that caught the attention of Memphis soul legend Willie Mitchell. Signing to Waylo, White spent the 80s carving out a distinctive place in Southern soul, with highlights like the modern soul favourite 'See You Later Bye'. This reissue brings together two standout tracks from her early 90s period: the Lanier & Co. assist 'I Don't Know Why' and a tender cover of George Jackson's 'The New Me'.

Review: Raw but slinky Chi-style deep house from Boo Williams, a key fixture of the Illinois city's nightlife since 1981. Originally released on Relief in 94 'A New Beginning' and its sequelae 'The-B-W Groove' and 'Phasis' are surprising contrasts here, providing affective sonic snapshots of the city's many blocked, narrow streets. The former of these two tracks serves steam-trailed strings and gulping chords down below, whilst the later jacks up the high knob to enclose an FM-bobbing bounce, around which spitting 909s, tuned cowbells and overdriven kicks collect.

Review: Greg Wilson and The Reynolds first teamed up in 2015 for 'Summer Came My Way' as a vocoder-topped summer twinkler, backed up by sweltering handclaps and gutting electric pianistic held notes. The Merseyside DJ and producer is alleged, at least as far as Discogs bios go, to have pioneered the UK electro scene, though his collaborative sensibility with twins Katherine and Carmel Reynolds here proved otherwise downbeat but munificent in emotion, compared to electro's later superlatively harsh, snappy, two-step snarings. The Balearic soul of 'Summer Came My Way' as deserving of its new ambient version, and it is the real highlight here, manifesting before us dazzlingly with its scatted lyrics and acid torsions.

Review: In the formative years of his career in the late 1990s and early 2000s, Ricardo Villalobos frequently utilised a handful of alternative production aliases - first Minta Spacew (one EP way back in 1993) and then more frequently Richard Wolfsdorf. Tia, first released way back in 2000, was the Chilean minimal maestro's second outing under that alias and has become a sought-after EP in recent times - hence this Rawwax reissue. A-side 'Echt Rot' is typically Playhouse-era Villalobos, with cut-up vocalisations, odd noises and spaced-out electronic snippets riding a crunchy minimal-house beat and looped, mind-mangling TB-303 bassline. Title track 'Tia' features simmering orchestral samples clustering around a typically wonky, stripped-back beat, while 'Feurwasser' sounds like the blueprint for many of his later minimal techno workouts.

Review: Guillermo aka Existencia Pasajera is part of a new wave of artists from the Andes who is making rightful waves in the wider underground. He's got a few great releases dropping this year, and this one on the tasteful Prozpektiva is among them. 'Dreamless' starts off with an eerie piano progression that is suspenseful and noir as twitchy techno beats and synths bring an intergalactic feel. 'Universal Express (feat Dismal)' is a brightly melodic tech stomper with Italo overtones and then hints of garage underpin the nice and punchy 'Now Or Never'. 'Disco Cydonia' (feat Dismal)' best more wiry and weird again then 'Space Groove' closes out with more celestial energy and squelchy acid lines.

Review: Ben Westbeech returns with his first solo full-length since 2011's There's More To Life Than This, marking a new chapter in a varied career as a singer-songwriter, DJ, hit producer and curator. The Glitterbox release hears Westbeech step back from the mic to focus fully on production and arrangement, bringing together a cast of musicians to channel a message of self-empowerment and inner peace, through pristine delays, diachronic desert grooves and a freed disco-bedience. Joined by fellows RAHH, Dames Browbn and Obi Franky, Westbeech's latest is a full-length ode to changing times and inner openness.

Review: In January 2025, Al Wootton visited Melbourne Electronic Sound Studio, which is home to a rare archive of vintage drum machines. Once there, he recorded the unique rhythms and quirks of these machines and captured their raw character. Back in the UK, he transformed those recordings through processing and layering to create this new EP, Rhythm Archives. The result is a stripped-back but impactful exploration of rhythm that draws from industrial, dub, post-punk and proto-techno influences. The record stands as both a creative tribute to the iconic machines and their makers and a nod to MESS's mission of preserving electronic music heritage and making it accessible through public engagement and education.

Review: Adam Winchester and Laurie Osborne (probably still best known as Appleblim) are Wrecked Lightship and they have an inventive approach to dub, breaks and bass. Their work creates an immersive world full of rich, atmospheric textures and the latest example of that is Drained Strands, a new album for Peak Oil full of fragmented, genre-blurring sounds. The six-tracker is full of experimentation and new ideas from the off. 'Delinquent Spirits' for example is a jumble of jungle breaks and vast basslines with minimal percussion, 'Reeling Mist' is warm, blissed out dub and 'Somnium Sands' is an eerie and evocative world of synth designs and industrial decay.