Back catalogue: All genres

Review: The Fruit Medley series has been hella juicy so far so we're glad another edition is ripe and ready for picking to kick off the label's 2025 season. This one features all newcomers starting with Cromie's 'Timereite', a chubby and clubby tech pumper with full throttle rhythms. Wilba's 'New Recipes' has lush synth smears over grinding low ends that echo early West Coast tech, and Darren Roach then gets a little deeper on the percolating 'Brettski Colectski'. Lazer Man's 'Time Of Ghosts' closes down with a mid-tempo, off-kilter house cut with steely drums and distant alien activity.

Review: The late great Whitney Houston has many hits in her back catalogue and plenty of them are ripe and ready for club-ready reworks. J& E Project do just that here by reworking her belting diva classic 'So Emotional'. First off they extend it with more drums for the dance floor, some 90s piano house chords layered in and splashy cymbals to make it all the more immediate. The vocal remains iconic and is sure to be sung back whenever this one gets played. A radio edit and instrumental also feature on this flashy pink vinyl.

Review: This heavyweight 12" delivers fresh French-produced roots reggae straight out of the unlikely region of Brittany in the North West. It unites the talents of producers William Spring and Arthur Dub Dealer with sought-after Jamaican vocalist Aza Lineage and results in 'Give Thanks For Life,' a spiritually charged anthem carried by Aza's commanding, conscious delivery over a deep, meditative rhythm. William Spring serves up his own riddim, and the B-side offers a delicious dub version from Dub Dealing that strips the rhythm back and recooks it with echo-drenched finesse. Benyah's 'Badman Horns' is tipped with some ska-adjacent brass to make for a meeting of modern roots energy with enduring messages of uplift.

Review: Theory Of Swing Records and Club U Nite Records are well loved outlets that themselves have a big love for authentic 90s house. They come togther for this special various artists release which opens with Mellow Man and his side project Black Chunes Productions. Opener 'Soul Groove' brings bright xylophone melodies and US garage drums, while, 'Daddy, Are U Ready' is organ-laced New York swing with great style and vocal stabs. Theory Of Swing main man St. David then hooks up with pal Wildbox from No Hype DJs for the same heavy and sweaty house of 'All Nite.' Their second jam 'Feeling Free' is more stripped back and cool with balmy pads swirling round cool drums kicks.

Review: This four-track compilation draws a tight line between warehouse muscle and emotional lift, delivering techno that's as moving as it is functional. Each cut brings a distinct perspective, yet they all share a sense of cinematic build and focused production. Gregor Tresher starts with 'Bonegrinder', a slow-burn builder that creeps forward before erupting into a peak-time workout. The groove is tight, the progression deliberate and when it hits full stride, it lands with impact. 'Cascade Rips', a collaboration between Works Of Intent and Voltaire, brings a different mood entirely. Its rolling bassline sits beneath a futuristic synth lead that feels both suspenseful and strangely touching. There's emotion under the surface and it simmers just right. On the Side-B, Marco Bailey drops 'Arcane', built around raw drum machine sequences and electro pulses. It grooves hard with a throwback vibe, nodding to early rave with metallic melodies and vocodered snippets that recall Kraftwerk without mimicking. The closer, 'Perditae' by Tom Hades and Soren Aalberg, floats into a more euphoric space. Its rising melody and ghostly vocals feel like they're beamed down from the heavens. A smartly curated collection of peak and soul.

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: Niklas Wandt is a Berlin-based man of many talents including drumming, singing, playing synth and percussion and DJing, as well as crafting delicious techno depths such as those on this latest EP from the fledgling Viscera Transmissions. Initially, 'Mehr Phett' veers towards hi-tek soul a la early Detroit with its surging pads and sleek percussion. 'Feuerwerk Der Rhythmen' is another quick and kinetic cut but one with great meaning in the musical synths. 'Subcutaneous Dance' then gets more wild and free with layers of synth pulses, scintillating drum programming and a driving bass line that will lead to dancefloor lift-off. Eden Burns remixes the opener into a tropical, dubby, elastic house workout with an off-balance bassline.

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: After recently singing to Ministry of Sound, Wh0 - Robert Chetcuti, formerly of Rhythm Masters- continues his ascension in the dance music world with a 12" for esteemed label, Rekids. The original mix is a polished club weapon that blends sensual grooves with deeper house textures. Wh0's ability to layer catchy vocal hooks with finely tuned production helps the overall sound and the intricate changes. With over 30 singles to his credit in less than a decade, he keep the volume up as well as the quality. Adding firepower to the release is the remix from Catz 'n Dogz, who take the original into more intense techno territory. Their rework simmers with suspense before breaking into a charged, kinetic drop. Where Wh0's version leans into flirtation and bounce, Catz 'n Dogz opt for a tougher, warehouse edge. Together, these two versions provide a versatile one-two punch for DJs.

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: This is a highly sought-after slice of 90s Detroit techno well cherished by those who like machine soul and siren futurism from the Motor City. It is now reissued, so those who consider it a holy grail are sure to rejoice as it has also been smartly remastered and features two remixes that were never officially released, with only a limited number of white label copies originally distributed as promos by 430 West. 'Vocoder' glistens with cosmic synths that twinkle like distant stars over a rubber, bouncy bassline. Remix 1 is more dark and rugged, and remix 2 has a heftier low end and more snap in the drums. It all makes for high class mind and body music.

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: With nearly 20 releases under his belt, this seasoned German producer delivers a strong techno EP that fluidly bridges multiple styles while maintaining a cohesive, forward-facing vision. Drawing from techno, tech house, electroclash and even breakbeat house, the EP moves with confidence and a subtle experimental streak. 'Klobb' starts with a sleek and sleazy futuristic edge. Its dark, pulsing rhythm and eerie melody create a fun-but-serious mood. 'You're Slipping Away' follows, diving deep into EBM and darkwave-inflected territory. It's a relentless and commanding track. 'Hush' flips the energy on its head, a welcome slowdown that leans into downtempo vibes. The B-side has 'Am I Making Sense', a bold techno cut with pristine sound design and a sense of urgency. It's big and atmospheric, with drums that punch through the mix cleanly. The EP closes on 'Rana Temporaria', a track that combines dynamic groove work with melodic tension and a slightly edgy twist. An ideal closer for a set or a record that resists easy categorisation. A confident, genre-fluid EP with some versatility too.

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: French label Cairo Xpress debuts with a first-ever vinyl outing and a fine one it is too, with six stylish house outings from an array of fresh talents. Wilt's 'Beoyon' has lovely gloppy drums and bass looping under harmonic chords - it's simple but effective. Hermit gets more full-bodied with his textured 'Who Dunnit' and DOTT strips it back to bumping drum track workouts on 'Twitching Softly.' There is more irresistible bounce to Lucho's 'Mesh', Artphorm layers in some old school pianos to 'Daown' and HATT D shuts down with maybe the best of the lot, 'Contrasts In Life,' which is a broken beat, analogue sound with celestial energy.

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: Wilfully naive, disco-soul edit editions from Tito Wun, the uptempo alias of Cologne-based Cool Bap producer and Groove Attack Record Store owner Twit One. This three-track journey will have you loose and lytic in no time: Wun's production extrudes sensitively across a tactful edit of Ecstasy, Passion & Pain's 'Touch & Go', not long before dropping into a driven-loopier version of an obscurer sample source, with 'Home'. We're just as hard-pressed to source the UK rap sample used in 'Raise Dat', but its celeritous confusion with conga hits and jovial ragtimey background moods prove a hit.

Review: Scarred by a high-profile breakdown, Abel Tesfaye aka The Weekend has spent much of the last three years rebuilding his mental health - a process reflected in the introspective and surprisingly open lyrics at the heart of Hurry Up Tomorrow, his sixth studio album. Said to be the final part of a semi-autobiographical trilogy, the two-disc set is a dizzyingly varied and star-packed affair that confidently strides between squelchy synth-pop (Justice collaboration 'Wake Me Up'), thrillingly bass-heavy Baille funk (Anitta hook-up 'Sao Paolo'), attack-on-the-senses EDM-pop ('Until we're Skin & Bones'), heavily orchestrated slow jams (' Reflections Laughing' with Travis Scott and Florence and the Machine), head-nodding R&B ('Enjoy The Show' with Future), 80s pop revivalism ('Take Me Back To LA'), and shimmering analogue synthscapes (Giorgio Moroder collaboration 'Big Sleep').

Review: Welsh harpist Amanda Whiting returns with a luminous new release on First Word, distilling a full spectrum of mood and meaning across six tracks. Known for her delicate command of space and melody she's joined here by collaborators like Alice Russell, Faye Houston, Aidan Thorne and Jon Reynoldsieach adding textural depth to Whiting's expansive vision. The opener 'Contented' is a warm breath of spiritual jazz, anchored by glistening harp and Faye's radiant vocals, while 'What Is It We Need?' pairs Alice Russell's soul-stirring delivery with upright bass and brushed drums. 'Intent' subtly flirts with jungle rhythms, a tempo lift that doesn't break the EP's introspective gaze. Elsewhere, 'It Could Be' is drenched in strings and light-touch percussion, perfect for golden-hour listening. It all closes on 'Moving On', a serene ambient fade that leaves room for reflection. Though classically trained, Whiting's output feels unbound by traditionicinematic yet grounded, with a quietly radical force. Thematically focused on womanhood, visibility and transformation, this EP is as confident as it is graceful. A compact but commanding work from one of the UK's most distinctive instrumental voices.