Back catalogue:

Review: Mr Doris steps up with D-Funk Heat, a release that comfortably balances retro flair with modern groove. The production is sharp, with funky basslines that immediately grab attention, while the crisp drums and infectious synth lines keep everything fresh. Doris's ability to blend dancefloor-ready energy with nuanced musicality shines through, making this a record that's both playful and rich in its sonic textures. There's a sense of ease throughout, a laid-back confidence that invites listeners to move while staying fully immersed in the groove. It's a nod to the past with eyes firmly on the future.

Review: Veteran UK producer and onetime member of techno/electro legends The Advent returns with a versatile three-track offering on his own Phoenix G label. The release explores the intersections of dub, house and techno, showing MR G's knack for creating deep, emotive grooves. Over the 25 years he's been releasing music he's kept a signature style and this is no excepyion. Side-1 features 'Dust In The System: Tokyo Dub Plate', a jazzy, dub-infused tech-house track with a rich, atmospheric vibe. Its deep basslines and subtle swing make it both hypnotic and dancefloor-ready. Side-2 opens with 'Let's Do It', where acid-laced techno and house collide. With bold rave chords and a driving rhythm, this track packs an infectious energy that feels destined for peak-time moments. Closing the EP is 'Find Love (Ambient Space Tek)', a chord-heavy, dreamlike piece that leans into chill-out territory. Its ambient tones and ethereal textures provide a soothing contrast, ending the record on a reflective note. Another excellent album, functional yet soulful, in his impressive catalogue.

Review: Mr G is indeed a real-life G. The long-time underground servant is famous for crafting impossibly hypnotic house tracks that are deep, smoky and dusty. He mostly does so on his own label but also takes trips to some of the finest other imprints out there, and NDATL sure is one of those. He once again voyages into the depths here with opener 'One4Cath' setting a heady tone from the off as the razor-sharp hi-hats cut up the muted, mirky low ends. 'Twist' brings some euphoric vocal stabs that inject raw soul to the menacing grooves and 'We All Feel Something' brings some signature toms and congas to the mix as sultry vodkas this time bringing the human element. 'Dub In The System' is a final heads down, back room marcher for those who like it stripped back and raw.

Review: Mr. G continues to be a bastion of the greatest deep house emanating out of the UK, and that practice extends to the artists he chooses to roll with. On this latest 12" on Phoenix G, he's reaching out to various characters for remixes which dial up the soul and don't necessarily play it safe for the floor. Kai Alce's 'New Feel' of 'U Feel Mi' is a gorgeous bath of sprightly Rhodes and sax flex, but it's more concerned with jazziness than simple riffs to keep a crowd pumped, even if there's a sharp beat underneath. Mango Boy takes two very different runs at 'Full A Love', with the 'On A Vibe' version especially impressing with its beatless rhythm mantras for the DJs who like to tease.

Review: While no two Mr G EPs sound the same, the veteran producer definitely has a trademark sound. That style - heavy, rough, stripped-back, smoky and fearlessly dancefloor focused - is naturally evident on his latest four-tracker for the Phoenix G label he founded a few years back as a vehicle for his productions. The Doin' Nothin' EP is pleasingly forthright and fiendishly heavy, with plenty of nods to his stomping techno past (he was, back in the 1990s, a member of heavy techno duo The Advent). For proof, check the throbbing, warehouse-ready nastiness of 'Sing It Loud', the razor-sharp intensity of 'Got My Groove On', where pulsating alien-sounding bass and jacking machine drums catch the ear, and the deep techno hypnotism of 'Been a Minute'.

Review: Mr G is presumably called Mr G because he is such a G. For seemingly ever now he has been turning out his smoky, stripped back and economical basement house joints, coated in dirty, lo-fi pads and grime. They are rollers that lock you in and keep you there and no matter how many times we hear new ones from him, the effects are always powerful. Here we get two more on his own label - the humid 'Drop It' and more raw and urgent 'Nangs', then comes a Drawing On Grace remix of 'Drop It' from Mr G's regular team up mate Duncan Forbes that pumps a little more of a funky drum pattern and a G Reprise that allows some light into the mix.

Review: Has anyone counted the number of re-edits Danny Krivit has released as Mr K? Given that he's being doing it for longer than most of us have been alive, it must run into the hundreds. This is not a complaint though because each new 12" brings at least two more killer re-arrangements. The two on show here are, predictably, excellent. On the A-side ('Dance Wit' Me') he plays around with a killer, early '80s P-funk jam, gleefully making merry with the Funkadelic style squelchy bass, extended vibraphone solos, snappy drums, sparkling synths and party atmosphere. Flipside 'Glasshouse' is more in-keeping with some of his vintage edits. It sees him extend and tweak a heavyweight slab of disco-funk goodness from an unknown source.

Review: Danny Krivit remains in a class of one when it comes to meticulous and masterful edits of classics. He puts out a fair few of them too, but the quality levels never dip, as is the case again here when he throws it back to the energy of his native New York's most legendary dancefloors. Opener 'Flying Machine' by War was originally composed for the 1978 film Youngblood and is a dramatic Latin-infused instrumental packed with swirling flutes, fierce perc and a breakbeat that's fuelled countless Afro house tracks. It's a fiery dancefloor weapon that hasn't been on 7" before and it comes backed with 'How Much Are They', which dives into deep dub territory with help from post-punk legends Jah Wobble, Jaki Liebezeit and Holger Czukay. It's a real mind melter packed with mad effects.

Review: No one edits a classic like Mr. K, as he has proven time and time again. Now the legendary studio craftsman is back and revisiting Paradise Garage and some of the club's legendary sounds. First up is TW Funkmasters' 'Love Money,' which was conceived by UK radio reggae jock Tony Williams and fuses Dennis Brown's reggae hit 'Money In My Pocket' with early rap influences. The dub version was embraced by New York's dance scene and became iconic at the 'Garage, with many homages coming later such as Larry Levan's Man Friday remake, 'Love Honey, Love Heartache.' On the flip, Janice McClain's 1979 Philly disco classic 'Smack Dab In The Middle' shines as Larry Levan's mix is reworked by Mr. K who turns up the jazzy groove with fresh breaks.

Review: Mr. K Edits' latest release caters to roller skaters and groove enthusiasts alike. It features two mid-tempo tracks uniquely edited by the studio scalpel master himself as they make their debut on 45rpm. First is Rodney Franklin's 'Felix Leo,' which was originally overshadowed by his hit 'The Groove.' It unfolds with hypnotic chords trimmed to their essence and unfolds at a gradual, majestic pace with captivating and lush strings making it all the immersive. Second up is Prince's early gem 'In Love' which showcases his instrumental prowess with drums, bass, guitar, and creamy synth lines. Mr. K extends the mix seamlessly, enhancing its danceable rhythm and timeless appeal with his usual class.

Review: Mr. K's series of edits continues. Any self-respecting music head is well familiar with the Most Excellent Unlimited series from Mr K aka Danny Krivit by now, and the latest entry into it is another doozy on 45rpm. The A-side features an edit of the title tune from a 1972 Ralph Bakshi animation originally played by a top crew of San Francisco area musicians. It is a steamy funk workout in a Latin jazz style with plenty of reverb and DJ friendly grooves. Flip it over and you'll find a gem from Philadelphia's Executive Suite which In Mr. K's hands is lit up with addictive strings and driving rhythms that never let up.

Review: Mr Lode is back with more surgically designed breakbeats that are aimed both barrels at the heart of the dance effort. They come with plenty of retro stylings and old school stylings that will unite dancers from across the ages and first up is 'Journeys' which is unrelenting drum funk and retro-future samples. 'Rhythms Of The Night' ups the ante with some mad whistles and soulful pads, then 'Happiness' tapes into Latin energy with raw South American horns and tumbling, funky drum patterns. 'Revival' shuts down with more drum-led goodness, underpinned by fat bass and with some kooky vocal samples.

Review: First released way back in 1991, minus a title (that appeared when it was reissued the following year), Mr Monday's 'Daybreak' has long been considered a Balearic classic by those of a certain vintage. Genuinely sunset and sunrise-ready, the original mix is a warming, tactile and pitched down treat full of slow-motion acid house bass, kaleidoscopic chords, spacey synth sounds and sparkling piano motifs - all rising above a languid beat that's perfect for wearing early morning shuffling and seated early evening head-nodding. This Thank You reissues also boasts two previously unheard versions: a deliciously dubbed-out, delay and reverb-laden 'Bonus Beat' take, and a near 10-minute 'bonus dub prayer', full of whispered female vocals, stretched-out grooves and dub-flecked percussion breaks. A genuine must-have!

Review: Mr. Raoul K's Precursor EP sets the stage for his forthcoming album with a captivating blend of Afro-house and spiritual vibes. Returning to his roots in Cote d'Ivoire, Raoul K infuses his tracks with the essence of his homeland, while also incorporating voices from Kenya, South Africa, and India. Sinkere's masterful mixing skills shine through on 'Loni ke,' complemented by a tempered remix from Compost head Michael Reinboth. Featuring contributions from Sidney Simila, Lady Parul, and Abou C., this EP is a shinning example to Raoul K's ability to capture the essence of African music and merge it seamlessly with contemporary house sounds. It's a journey of cultural exploration and musical enlightenment that leaves listeners eagerly anticipating the full album release.

Review: Presented simply, with basic artwork that offers a subtle nod to DJ Harvey's iconic Black Cock Edits series of the 1990s, this single-sided blue 12" marks the debut of a mysterious new rework series: Mr Wong's Edits. We're not sure who Mr Wong is - aside from the fact that the artist is not the grime producer of the same name - but he has delivered a strong debut. 'The Finest This Is What You Are' sees him tastefully mess around with a lesser-celebrated, string-drenched S.O.S Band jam - or at the very least, an acapella of it. This is combined with sweeping, string-laden elements from a simmering Barry White disco number and a shuffling, bossa-influenced Latin house beat. It's certainly a unique combination but one that works really well.

Review: Almost a year after it debuted on digital download, Mr X's most celebrated single for Vega Records finally lands on wax - and in expanded EP form, too. Lead cut 'The Curse' is a terrifically energetic, sweat-soaked affair with incessant electric piano riffs riding a breathless base of swinging, bumping house drums, deep bass and echo-laden percussion fills. The mysterious, New Jersey-based producer remixes it himself on 'The Curse (Revisited)', opting for a darker, moodier sound and loose-limbed, Kenny Dope-esque drums. He also offers up two bonus cuts: the funky bass-propelled jack-track 'The Underground', and the low-slung, heavily edited disco-house throb of 'B-Side Only'.

Review: A captivating exploration of minimal and tech house, delivering a smooth blend of breezy melodies and lush grooves. The title track, 'Mai Tai', kicks off Side-1 with effortless charm, offering a melodic, laid-back tech house vibe that feels perfect for open-air settings. 'Talei' follows, elevating the mood with its chord-driven, lush textures, embodying the essence of quintessential tech house. On Side-2, 'Just Let You Be' nods to Drexciya's 'Let Me Be Me' with a groovy, minimal approach that feels both nostalgic and contemporary. The EP concludes with Sakro's remix of 'Mai Tai' which transforms the original into an upbeat, dancefloor-ready anthem, adding energy while maintaining its melodic core. This EP is a good in balancing minimalism with rich, inviting soundscapes.

Review: Man of many aliases MS (real name Matthias Schildger) has released on many labels since making his vinyl debut in 2011, with Rawax and its Housewax offshoot being his most regular outlets. Here he returns to the latter following last year's digital-only Slow Housing EP with another rock-solid four-tracker. The German producer begins with the hybrid deep house/tech-house crunch of 'Dancing By The River' - all Korg-M1 organ stabs, swinging beats and glitchy electronics - before opting for a deeper, dreamier and rhythmically off-kilter vibe on 'Let's Float'. Over on side two, 'Mainrecorder' sounds like a tribute to interlaactic-sounding late 90s tech-house, while 'OF Blues' is ultra-deep, warm, bass-heavy and undeniably attractive.

Review: Mukatsuku celebrates its 100th release on vinyl with two tracks lifted from the excellent, Japanese-only long player Message From A New Dawn from Kyoto Jazz Massive, recently celebrating their 30th year anniversary of production and releases. Both tracks here are given full versions and their own side of wax for extra loud play and have been highlights of the ongoing live sets around the world from the outfit. KJM present their vision of the ultimate crossover electric jazz fusion and it all adds up to a fresh take on their iconic sound, crafted to push boundaries and inspire the future of nu jazz.

Review: Ambient Classics From Japan on Mukatsuku features two lush filled classics from the label Form@ Record label from the land of the rising sun....First up, Shuichiro Nakazawa under the guise of Modern Living from 1998 - initially taken from the CD only Art Form 2 compilation although it also popped up on Music From Memory's excellent Virtual Dreams collection - now gets a whole side on loud cut 180 gram vinyl to itself. On the flipside comes Virgo aka Yasutaka Sato with his gorgeous deep techno ambient gem 'System For Zodiac piece, taken from the Landform Code CD, of which only 30 copies were ever made and has never seen light of day to vinyl until now. No repress hand numbered to 300 copies and first 100 come with Japanese Origami paper crane + sticker.

Review: Deep house doesn't often get served up on 7" but that doesn't stop Pond Recordings who do just that here. Mura Masa is behind the two really quite different cuts and shows a real variety of skills. 'Rise' is a dusty house gem with warmth and soul and a great vocal sample. On the reverse is a physical workout that mixes prickly beats, chopped-up vocals and wiry synths into something usually and alluring. Two very different sides then but both equally effective in their own right.

Review: The still newly established Rhythm Traxx kicks on with more fresh, club-ready house music here. It's Finky and Ben Murphy who step up for this one and deliver the goods, starting with 'What Is Disco Tech' which does a fine job of answering its own question. 'Danger' then switches up it with some garage flexing in the drums and spacecraft transmissions for vocals. A brilliantly infectious energy defines 'Dance Potion' with its naughty baseline and cheeky bounce and for the big finish, 'Rhymes & Rhythms' brings acid stabs, drum fills and vocal chops to some peak time tech.

Review: DJ-friendly and top rare jazz vocals with piano trio in a swinging samba vibe, available on vinyl for the first time! 4 Tracks/ Exclusive Non Album Vinyl only recorded at VARA Studio Hilversum/ Netherlands for the Dutch radio show "Metro`s Midnight Music" in February 1974 produced by Joop De Roo. Remastered 2006. US-singer Mark Murphy is one of the world's greatest jazz vocalists of the 20th century. A six-time Grammy nominee, he has enjoyed a prolific 40-year recording career, with over 40 releases to date. Stereo Review dubs Mark 'one of the major artists of our age. Mark Murphy is a jazz singer.' For decades the question 'What exactly is a jazz singer' has had two easy answers, Betty Carter and Mark Murphy. 'He is arguably the best male jazz singer in the business' declares Rex Reed. Mark's musicianship, range, intonation, diction, inventiveness and incredible rhythmic sense are all of a piece and all marvellous.' Vocal greats Betty Carter, Peggy Lee, Cleo Laine and Shirley Horn all sing Murphy's praises as one of the best in the business and the legendary Ella Fitzgerald declared 'he is my equal.' It was Sammy Davis, Jr. who first discovered the young Mark Murphy in 1953 at a jam session in Murphy's hometown of Syracuse, New York. Impressed with Murphy's talent, Davis invited him to his show that night, where he even asked Mark to join him on stage. In 1974, Dutch radio producer Joop De Roo invited him to the VARA Studios Hilversum for a short rehearsal and a first but final take on the same day with the excellent Louis Van Dyke Trio. The corresponding recordings were shelved in the radio archives over the years and chosen by Joop for inclusion into his programme, that was broadcasted every week around midnight until 1980. Parts of the rare trio recordings feat. Mark Murphy were previously released on a Japanese CD fifteen years ago in very small amounts, unmastered and falsely marketed as the "North Sea Jazz Sessions", although the musical material cannot be connected in any manner to the famous Dutch festival of the same name. The sought after four tracks on this exclusive vinyl EP will NOT be included on the forthcoming Various Artists compilation "Metro`s Midnight Music" featuring rare and unreleased tracks from the Dutch NOS radio archives 1970-1975, carefully remastered in 2006 incl. tracks by the Metropole Orchestra, The Louis Van Dyke Trio, Mark Murphy, Helen Merrill, Eddie Jefferson, Greetje Kauffeld, Dave Pike and others (Sonorama-16/ 2 Lp & 2 CD), to be released in October.

Review: While nowhere near as celebrated as some of his NYC contemporaries, Tommy Musto made some incredible music at the turn of the 90s, flitting between breakbeat-driven, techno-tinged heaviness and heady, sample-rich house. The Lost Dubs Volume 1 takes us back to that period via a quartet of contemporaneous cuts recently unearthed in the producer's vaults. There's much to admire throughout, from the driving, bass-heavy hedonism of 'Holdin' On', a track propelled forwards by insatiable organ riffs and breathless beats, and the extra-percussive early morning headiness of 'Baby's Right' - all delay-laden Rhodes licks, funky bass guitar, mazy synth solos and Masters At Work style house beats - to the Victor Simonelli style saucer-eyed warmth of 'Love Is Needed' and the sleazy, Kenny Dope style heaviness of 'Keep It Movin'. Genuine buried treasure!

Review: Tommy Musto dives deeper into his DAT archives to unearth another collection of mid-90s NYC gems for this essential new 12". These four tracks capture the essence of iconic clubs like Red Zone, Club Zanzibar, Twilo and Sound Factory and at the same time echo the sounds that legends like Knuckles, Humphries and Morales spun during that era. Each one blends darker baseline and jacked-up house drums with moody synths that all add up to a fine batch of beats that deal in pure, classic vibes straight from New York's classic underground scene.

Review: For his latest release, Tommy Musto delves into his venerated DAT vaults to unearth a treasure trove of mid-'90s NYC gems that are sure to excite house heads. These four tracks capture the essence of the legendary likes of Red Zone, Club Zanzibar, Twilo, and Sound Factory scenes and do a fine job of evoking the vibes that legends like Frankie Knuckles, Tony Humphries, Roger Sanchez, Tommy Simonelli, Masters at Work, and David Morales were all spinning back in the halcyon days of house. Now, you can own a piece of that iconic era with these deep cuts sure to bring back that classic house sound in some style.

Review: Billed as an elusive producer now primarily offering his services to the deep house label Running Back, Mute here reissues and repackages the second in his 'Direct Cuts' EP series, 'Redux'. First released in 2006, the 'Redux' versions clarify a fresh set of takes on older material, hereby the artist Gerd Janson. Continuing to flash, tease and periodise four of many possible glimpses of both Mute and Janson's crafts, this new edition of the first EP, released almost twenty years later, hears a right smattering of hypnotic grooves and tricky temperaments. Our fave has to be the version of 'Vibes', bringing electric movements and nighttime prowls to an already all-analog flavour palette.

Review: Last year saw Gerd Janson and Maurice Fulton shake hands on a deal that Bubbletease Communications fans had long been hoping for, with Running Back penning a deal to reissue some of the producer's digi only work on vinyl. The first fruits came in the shape of the Syclops album A Blink Of A Eye (featuring THAT track) and now Running Back turn to the sublime combination of Fulton on production and Mutsumi on vocals. Both tracks here are taken from the artist formerly known as Mu's 2010 self titled LP. As with most, if not all, Fulton productions, the music here sounds like little else and still totally ahead of the game some four years after it's digital release. Described by Running Back as "hard-hittin-freak-out dance tracks", those looking for the perfect blend of Fulton's squelchy acid instrumentation and Mutsumi's wild vocals are advised to check this post-haste.

Review: Jackpot Recordings is a fresh sub-label brought to you by London-based production duo Club of Jacks. Their debut release showcases solo sessions from one half of the COJ crew, Max One aka MX1, and stays true to their signature UK garage-influenced house sound. The EP commences with 'Down Like That,' which has lively beats, resonant analogue sub-bass, and velvety chords with classic r&b samples while 'Waiting On' has swung beats and chord stabs with more captivating vocals. Don't Give Up' then brings a little sun to the grooves with funky undertones and 'Work Me' closes the EP with a more moody late-night vibe.

Review: South Africa has long had its own exciting and vibrant house scene, and it has always had its own distinctive sound. These days it is ever more present in the wider global scene and now Moods & Grooves helps to keep the movement growing by looking to esteemed African producer Myazisto for a label debut and his first-ever outing on vinyl. A-side jam 'Centuries' has fantastically light-footed drum patterns and slick finger clicks that are infused with blissful late-night chords and dreamy leads. 'The Grove' is another one cooked up with a light touch, dusty drums and tender melodies that all raise the spirits and fill you with calm.

Review: Another week, another new re-edit series of mysterious origin. There's literally no info about the producer (or producers) behind this particular single-sided salvo, or the source material they've tampered with. Regardless, we'd heartily recommend giving it a listen. Firmly focused on peak-time floors, it wraps cut-up and manipulated female rap vocals over a formidably bouncy, turn-of-the-90s house beat and a rubbery synthesizer bassline so infectious you might need to self-isolate for two weeks after hearing it. This is hip-shaking, toe-tapping, arms-flailing retro-futurist hip-house at its very best: ignore at your peril!

Review: The already much-loved Moxy Edits label is back with a highly anticipated third release. This latest 12" is another hardcore slammer with edgy house beats in the style of DJ Sneak and Derrick Carter defining the two tracks. The first has some party-starting and block-rocking beats with big horns and bigger vocals. It's one to make you sweat for sure. On the flip, more dramatic percussive rolls, hard edge hip hop breaks, firing horns and New York vocals add up to an explosive bit of dance floor weaponry that's as fun as it is functional.

Review: Moxy Edits shares the ninth edition to its fantastically frisky edits series, focusing on jacking UK house edits in a hip-hop and disco style. In bobbing fashion, A1 side 'Haha' reworks Little Simz' 'Gorilla' to huge, over double-time hip house effect, doing rapider justice to Simz' transmissive reworking of an original Beenie Man line. 'Meld' redoes a comparatively untraceable disco breather, providing an emotive 4x4 contrast.

Review: A seventh installment of the Moxy Edits series by the anonymous Myedits project, who rework old disco, funk and soul tracks into modern dancefloor weapons. Moxy Edits 007 features a singular, utter heater: a funky and upbeat edit of a classic by Q-Tip - 'Breathe And Stop' - which lends the song an added inflamamatory property, like a single-strike match pre-dipped in a deep-frying vat of liquid French house.

Review: Single-sided white label business from Moxy Edits, who ignite the dancefloor once more with a slick yet somewhat surreal Cypress Hill flip. A hugely wompy kick is heard teasing, highpassing and re-dropping its bass, as the unmistakable proto-Danny Brown register of the group's founding member and rapper B-Real are heard in characteristic nasal fashion over this hip-garage rendition of 'Insane In The Brain'. Be warned: there's simply no let-up with this one. Move as quick as its 4x4s do.

Review: More from the reliable Moxy Edits series, a sneaky, rework-focused offshoot of Darius Syrossian's Mozy Muzik label. This time round, there's no superfluous filler and alternative versions, just a sole, peak-time focused workout that's been designed to have maximum dancefloor impact. What's on offer is unusual but rather brilliant: a tooled-up house revision of a classic chunk of psychedelic era pop cut that wraps jangly guitars and a glassy-eyed female vocal around a driving bassline and sweaty house beats. It's a simple idea that's been brilliantly executed and far more tasteful than it has any right to be. In other words, it's a genuinely good bootleg remix that you'll hear loads in clubs in the weeks and months ahead.

Review: The elusive MYOKEN crew delivers another tantalising 12" of dubbed-out edits with a white label release featuring 'Give' and 'Hurt'. On the A-side, 'Give' is a sultry, downtempo blend of echoing vocal cuts and laid-back beats that stretch out like a haze-filled evening. 'Hurt' on the flip side takes a similarly murky approach, warping pop elements into a mesmerising dub-heavy soundscape. With limited pressing and minimal distribution, this release is already sparking excitement among collectorsian essential pick-up for those after raw, dub-infused edits that push the limits of the pop format.

Review: First released by Snuff Trax in 2015, but potentially recorded much earlier, 'U Won't C Me' is one of Mystic Bill's most potent cuts - an analogue-rich hybrid Chicago deep house/acid house cut which sounds like Larry Heard jamming with Adonis circa 'No Way Back'. This Nu Groove reissue naturally features the long-serving producer's original mix, the original bonus track 'Like a Dream In The Night' (a moody, low-slung chunk of warehouse-ready, late 80s style Chicago deep house) and two reworks of the title track. Stefan Bratz ups the acid house factor, reaching for driving drums and mind-mangling TB-303 bass, while Jake Savage's 'Acid Re-Rub' is a jacking, sweat-soaked affair smothered in red-raw acid lines, cut-up spoken word snippets and a ghostly melodic motif.

Review: Most disco diggers will be aware of the DJ Harvey adjacent Black Cock series - when it launched in the early 1990s, it was one of the first hush-hush re-edit outlets around. Mystic Slot was Harvey and Gerry Rooney, and this double-header - first released 31 years ago in 1993 - is arguably their strongest moment. A-side 'No Way Back' is a Clavinet-heavy, largely instrumental revision of the Dells' infectious track of the same name, rearranged to stretch out key passages of groove, build and breakdown. It's still a fantastic re-edit, as is flipside 'Disco Adventure', a cut-and-paste dancefloor classic that builds a low-slung, sweat-soaked dub disco delight by blending the groove from a lesser-celebrated Jimmy 'Bo' Horne cut with elements borrowed from tracks by the Winners and eccentric producers Rinder & Lewis.

Review: Thomas Berg's Soundscape Versions presents the third instalment on sublabel Mystic Versions with four unknown cuts by different artists across the globe, produced and performed using all analogue hardware gear. Sublime dub techno experiments captured in all their glacial and cavernous intensity, from the deep minimalist groove of "A1", the thumping delay-drenched reduction of "A2" to the housey and uplifting feel good vibes of "A4" with its jazz-bar loops. It's about quality over quantity on Mystic Versions and the wait has most certainly been worth the while.

Review: Having set out their stall via a fine first collaborative release on Bordello a Parigi a couple of months back, Mytron and Ofofo pitch up on Multi-Culti. As you'd expect from a label with such a strong track record of multi-cultural musical fusion, much of the EP defies easy categorization. Sure, you'll find a chunk of Italo-influenced electro ("Non-Binary Joys on the Venus Holodeck") and a couple of slabs of madcap disco-funk fusion ("Si Jambo" and "2Tac Onana"), but also a heavyweight slab of low-slung punk-funk/post disco ("Czary Mary"). Oh, and the skewed electro-funk-meets-intergalactic synth pop insanity of "Something for Your Mind", which also boasts some notably brain-melting vocoder action. More, please!

Review: Hello to Metrica Recordings, a new label from Italy that wants to win hearts and minds with its take on minimal and tech house. It begins with an EP featuring Negs on all cuts but with various collaborators. Franz Di Maio is first on the classically inclined deep house of 'A Bright Spot', while 'Echoes Of Thoughts' is a solo cut with more early Chicago synths and dusty drums. Marco Spinetti steps up to help on the more marching and moody '1112' and two remixes of 'A Bright Spot' shut down with a blend of Balearic and Italo style.

Review: Toolroom's house imprint keeps the party pumping with another diverse selection of floor-filling weapons. Grant Nelson & Mark Knight lead the charge with 'Do It Y'all', a track that's been tearing up charts and dancefloors with its raw energy and irresistible rhythm for a while now. But this sampler doesn't simply rest on its laurels; it takes us on a winding path through the multifaceted sounds of house music. The Deepshakerz & Turntables Night Fever follow up with 'Oh Phunk!', a high-energy stomper fueled by a relentless rhythm section and soulful vocal samples that hark back to the golden age of house music. Richard Earnshaw, however, opts for a different approach, reimagining Fonda Rae's classic 'Touch Me' with a touch of soulful depth and emotion. Sebb Junior closes out the sampler with 'Makes Me Feel', a track brimming with bright melodies and feel-good vibes, showcasing the playful side of house music. This sampler is a showcase for the label's dedication to quality house music that offers listeners a diverse range of beats that are both good for the dancefloor and any discerning DJs.

Review: Scopic Records - a new UK label which aims to "bring newcomers and artists with backgrounds, regardless of their background or gender" - launches with a single by its founder New Digital Fidelity in collaboration with singer Monet. We get three nicely different mixes of 'Getting Colder' in all. The A-side is taken up by the club mix, a classic New York deep house groove with chunky pianos chords and Monet's confident vocal performance. The flip begins with the original, a slower version but still effortlessly groovy, bringing its soul, jazz, and R&B influences to the fore. US techno's man of the moment Byron the Aquarius completes the set by turning the track inside out with shuffling hats, snapping machinefunk snares and a bubbling bass, making it even more impressive by exposing its moving parts and giving them a neat polish.

Review: In a break from their usual program, Circoloco look to Chicago and the rising star that is NEZ. Previously spotted last year on Three Six Zero alongside Felix Da Housecat, now NEZ throws down three varied cuts that show he's one to keep tabs on. First up comes 'You Wanna?', a pumped up peak time house cut with our man upfront inciting the dancefloor to come alive. 'Let's Get It' drops down into trap mode with Schoolboy Q jumping on the mic, and then the B side turns the heat up with the mighty Moodymann and Gangsta Boo chipping in to create a party monster in 'Freaks'. Skip this one at your peril.

Review: Heavyweight sonic Afro-botics from Nikodemus, Barzo and Mr Doris on 7" wax. The trio team up here with Dinked Records for a double-bill 7" in veins of amapiano and broken beat, primed for crate sifters and floor ambulants alike. On the A, 'Want Some More' delivers Mr. Doris' signature blend of rhythmic muscle and Afro-Latin swang, while the flip flops Nickodemus with Barzo and Zongo Abongo for 'Show Your Power': a bold, percussive cut straddling broken beat, house, and ska. Somewhere between 126 and 128 BPM, both are utter floor finishers and could easily intro your next Afro-house set as they could provide it a sense of continuous, mid-set body.

Review: Toolroom founder Mark Knight lands back on his own imprint, updating one of house music's most influential records, 'Let's Get Brutal' by Nitro Deluxe, bringing it forward to floors in 2023 under the new title 'Brutal'. Following up his collaboration with NYC house legend Todd Terry on the label in March with 'Make You Happy', this reissue reminds us of the esteemed, originally Cutting Records-released classic - a track which later went on to be sampled by Kevin Saunderson (aka Good Life) in his equally impactful hit 'Big Fun'. The original - with its nonsensical "brutal with the millimetre" vocal sample, god knows where it's from, though seeming to effortless capture some inexorable facet of the German psyche - sounds as great as ever, though it also comes backed by a new extended remix from Knight on the B.

Review: Hotmix deliver another two-track slaying from an aliased ambassador of the label itself, this time the first edition in the new 'Obscure Bad Dreams' series. An homage to Sauro Cosimetti (the Italian house and techno mastermind whose credits include releases on Frequenza, Natura Viva and Beatfreak), six acolytes of the artist bring six, discoic house hosing-downs to the table. Most exciting among the selections are the lively African trad chanter 'The Beginning', the dreamy soulful house 'Inflight' by Rohan Delano, and Montano Orchestra's freestyle-inspired dub-electro-disco 'Tribal Love Beats' version of their own 'Esto Parese Amor'.

Review: Serenity is a mental health charity label that is now back with more sonic gold, this time in the form of a reissue of Marco Bernardi aka Octogen's 'The Journeyman' from 2008 on Soma Recordings. It is an immersive, emotive sound with lush and ethereal pads and a moody bassline that keeps you locked. The B-side offers two original tracks from Bernardi 'Travelling to the Sun' is one to hypnotise floors with its hypnotic chimes and raw drums, while 'Little Tiny Crickets' delivers a fast-paced IDM twist with some killer synth work. As always, proceeds go to charity this time Papyrus UK who support youth suicide prevention and MusicSpace.

Review: MoBlack Gold work both as appraisers and minters of quality Afro House. This record, once again, attests to the fact, clocking in as the label and music-making house's "XII-th" release. Jamek Ortega, MoBlack, Armonica, Samna Soundsystem, Peaty and Faros all stop by the dancehall in a confident move of jitting, shimmying surety, extending out from an extended version of Ortega's 'Voices' to a closing, kwaito-deep quaalude by Faros, 'Feeling You'.