Back catalogue:

Review: After 20 years of a restful sleep, the legendary Icelandic Thule offshoot house label 66 Degrees has been resurrected. Three deep cuts exhibiting what is in store for the year 2022.

It begins with "Can Ride", a neo-disco anthem from former resident Justin Simmons. Nifty groove with an acid-bassline - topped with all the razzle and dazzle that is needed to get the dancefloor moving.

The flipside starts with a remastered Raresh secret weapon, a proper minimal percussion-driven groove from Kate & Joan, a side-project of Dole & Kom from the renowned label BCC music. The Detroit-influenced dub house anthem will, without a doubt, be a useful tool for any DJs to get the crowd going.

The second cut on the B-side is from a Reykjavik-based beatmakers Oh Mama. Its wild style sample-based approach caught the label's attention and the result is a worthy debut vinyl release. Hypnotic, sexy and groovy - with a big and dirty bassline.

Review: Alex "Omar" Smith has covered all bases this year, offering up singles that flit between more experimental, off kilter fare, head-nodding beats informed by hip-hop culture and the unique blend of Detroit deep house and techno that has long been his stock-in-trade. His final single of 2019 sees him gleefully charge further towards disco pastures with "Another Man", a bouncy, club-ready house workout that peppers a good-time disco groove (think rubbery slap bass and crunchy drums) with spacey synth sounds, twinkling melodies and male spoken word samples ("I can quite understand... she left me for another man"). He's back on deep house mode on flipside "Suv's AKA Fatass Mobile's", where a drowsy riff and sustained synth strings bob along atop a sea of sweaty machine drums.

Review: Given their shared musical heritage - both are members of the extended Firecracker Recordings crew - it's perhaps something of a surprise to find that Face The Facts marks the first serious collaboration between Linkwood and Gav 'Fudge Fingaz' Sutherland AKA Other Lands. It's less surprising that the album is really, really good. Touching on warming synth-boogie, head-nodding downtempo jams, mutant beatdown, Balearic beats, sunset-ready soundscapes and warming analogue deep house, the 13-track set is notable for the pair's extensive use of dusty old drum machines, tactile instrumentation (think smooth Rhodes solos, languid guitar solos and blissed-out synths) and Sutherland's hazy, sometimes seductive singing voice.