Review: 20/20 Soundsystem were a four piece live band fronted by 20/20 Vision boss Ralph Lawson, leaving their stamp on events Sonar Barcelona, Glastonbury, Space Ibiza, EXIT, Love International, Creamfields Argentina, fabric London and Manchester WHP. They released two studio albums, the latter, 2008's Falling, lending its title track to a clutch of new mixes here courtesy of Random Factor and Fernando. The new versions bring a modern touch and fresh dancefloor-ready energy while never forgoing the spirit of the original. Random Factor's offering is a gritty and dubby electro version and Fernando offers a cosmic chugger with plenty of sci-fi sounds and wispy acid details. Sound.
Review: Portuguese legend and 30-year scene veteran A Paul is no stranger to Planet Rhythm - in fact he has already dropped an EP on the vital label this year. But now he's back with more on this Shadow Light six tracker. The opener is fast and dubby, stripped back and seductive for body and mind. 'Magnatizm' fizzes with more electricity and alien energy and 'Nocturnal' brings manic, anxiety-inducing loops. There is glitch and pent-up tension in 'Magnolia' while 'Dramatism' and 'Naperon' close out with more streamlined and tunnelling techno depths.
Review: Bristol genre-blurrer A Sagittariun reemerges with 'The 23 Enigma', a three-track implied "conceptechno" EP, and his first new material since 2022's 'Strange Brew' on Rekids. Having already conquered Hypercolour, Running Back, Craigie Knowes and Secretsundaze, he's now spent close to fifteen years weaving strands of techno, ambient dub, breakbeat, and deeper electronics, lacing each with a heavy psychedelic dosage just shy of overdose. The latest hears 'Fountainhead' and 'Mind Games' offer a percussive jolt through rugged high-impact tools, set aside for dirtier floor works. The title track is the only one to trade the club's rough pulse for a subtler, high crown cognition, riding warped, muscular electronics till we reach an unbidden cavernous zone. A Sagittariun continues to operate outside the grid, where cosmic intent meets merciless studio power.
Review: Aesop Rock has long thrived on twisting the ordinary into the uncanny, and his latest full-length after 2023's irony-packed Integrated Tech Solutions hears him deepen that fascination. Examining the unseen mechanisms that guide daily life - dream logic, half-formed memories, fleeting emotions - he now blurs the lines between perception and reality with densely packed verses and meticulous self-produced beats. A brooding, cinephilic album recalling the atmospheric street wiles of filmmakers like Wong Kar Wai, the playful 'Send Help', contemplative 'Movie Night' and dusky 'Black Plums' chart strange emotional terrain, brought to life through warped sonic forensic architectures and sharp lyrical precision. Joined by Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, the album pivots constantly, driven by intuition but grounded in detail Speaking on the record's emphasis on public bareness, Rock remarks on 'Checkers', a song "about the neighborhood outside your home being the great leveller. You can't show up feeling one way because the world will show you otherwise."
Review: This new 12" from Glaswegian producer Harvey McKay sees him reworking Daniel Avery's 'Drone Logic' into a driving, big-room missile i and it absolutely slaps. Upping the tempo and leaning into a more percussive framework, McKay doesn't just touch up the original's swirling psychedelia, he rebuilds it for peak-time pressure. The acid line is still there, twisted and stretched, but now it rides atop galloping drums, shimmering hi-hats and the kind of pneumatic swing that's become McKay's signature. It's a brand new release on Phantasy, pressed in a limited run of 500 and already a fixture in the sets of Avery, McKay and Erol Alkan. The sound is somewhere between soulful techno and heads-down warehouse hypnosis i powerful without being punishing. What's clever is how it stays true to the hazy mood of the source, but flips it into something entirely more immediate. As a one-sided 12" it's a bold statement, but one that's easy to understand: it only needs one track when it hits this hard. Built for high ceilings, smoke machines and stretched-out moments mid-set, this is an edit that earns its hype. A slow-burn classic reborn as a proper dancefloor weapon.
Review: Scruniversal's sub label Tunes Delivery invites Moscow scene veteran Leonid Lipelis to don his Beard In Dust moniker for their third instalment, one which dips into various different eras of dance history for inspiration. There's a distinctly late 80s feel to opening tune 'Music of the U', complete with sampled bell stabs and the kind of beats that wouldn't be out of place on an S'Express or early Coldcut house affair. 'The Armenian Break' and 'City of Love' look back even further, back to the female-fronted disco efforts of the 70s, the latter adding a touch of Balearic flourishes. 'Abstractish P' circles around some serene arpeggios, with rave whistles and, as it progresses, twisting guitar notes, lending it an individual air, while closer 'RoRyaRe' nods to ExCel-era 808 State with some nice bleepery before settling into more progressive headnodding territory and some distinctive synth play.
Review: B2 Recordings is one of those labels that is deeply entrenched in proper house circles. Its latest comes from Begoa who keeps it nice and chill on 'I Won't Love You' (feat Mimi X FY). The drums are low-slung, the chords are breezy and warm. 'Bibi's Funk' then layers in some lively percussion that adds a nice texture to the swaggering, slo-mo grooves. 'Listen' picks up the pace with some electro-charged rhythms and corrugated bass funk and then 'Exiles' leaves you with another classy, spacious sound with persuasive claps and big splashy cymbals.
Lewis Bennett & Donovan Kingjay - "Jail House" (3:43)
Lewis Bennett - "Jail House Dub" (3:25)
Review: Doncaster-based reggae producer (you don't read that often, do you?) Lewis Bennett teams up with veteran vocalist Donovan Kingjay for this new single, which is a heavyweight slice of spiritual roots and steppers. 'Jail House' delivers deep basslines, militant rhythms and conscious lyrics in classic sound system style. Kingjay's commanding vocal presence brings a timeless message of justice and resistance, while Bennett's production strikes a perfect balance between movement and meditative depth. This is a powerful, no-frills release for true roots heads, designed for the dubwise dance and built to shake speaker boxes.
Review: Nick Bike has been at it again, crafting high-grade club cuts that always make an impact. These two have already been well road-tested with great effect. 'Party People (Night & Day)' is the first and is a brilliant collision of some funky, soulful disco classics into one new and strident sound with irresistible claps and vocal hooks. On the flip is the scorching 'Every Night (Hold Me Tight)' which is just timeless and super smooth disco-funk with a persuasive charm. Two no-brainers here that will bring next-level fun to any set.
Review: Bob & Marcia's Young Gifted & Black album on Trojan came back in 1970 and was produced by Harry J. It included the title track, which was a UK top five hit that has remained a favourite. The cool and breezy groove carries a potent socio-political message and lo-fi drums that lodge deep. It is reissued here on anew 45rpm that is featured alongside Marcia Griffiths' soulful 'Working To The Top' which mixes authentic reggae and slightly more swaggering ska vibes and heartfelt, steady groove. Together, these tracks take it back to a golden age of reggae and are perfect for loud plays on sound systems this summer.
Review: While he may well be best-known for his nostalgic, synthesiser-powered Warrington-Runcorn New Town Development Plan project, Gordon Chapman-Fox has also put out some fine music under his given name - not least 2023's ambient opus on Castles In Space's 'Subscription Library' offshoot. On Very Quiet Music To Be Played Very Loudly, Chapman-Fox delivers four expansive ambient soundscapes. He sets the tone with the Vangelis-esque synth suspense and spacey creep of 'Components', before opting for sustained, almost neo-classical sweeps and delay-laden electronic string sounds on 'Fringe'. 'Emphasis' is immersive and quietly picturesque, while closing cut 'Singular' is dark, moody and quietly paganistic - a kind of imaginary soundtrack to a 21st century folk-horror movie.
Review: The Swiss producer and mastering engineer, now rooted in Lisbon, Chlar returns with an evocative slab of techno that feels both ancient and forward facing. With over a dozen EPs under their belt, this latest four-tracker solidifies his mastery of atmospheric, rhythm-heavy sound design. Side-A opens with 'Altitude', a primal and hedonistic tribal techno cut that recalls the spirit of Blueprint Records or early James Ruskin. It's a raw, driving rhythm that feels carved out of stone, a cavernous groove echoing through the walls of a rhythm cave. 'Serac' follows with a deep bassline and a futuristic, yet organic pulse that balances modern machine funk with a ceremonial, ritualistic undertone. There's a timeless quality to the way it moves. Side-B begins with 'Lamin', perhaps the EP's most cinematic piece. It's clean and spacious, yet cloaked in tension, like an alien landscape where mystery simmers beneath the surface. 'Phantom Grid' closes the record with a no-nonsense percussive workout, all warehouse minimalism and skeletal intensity, perfect for peak-hour darkness. It's atmospheric, confident and comes with a big dose of sonic storytelling. What more could you want from your techno?!
Review: Nutria Sounds is a new sub-label of Kai Alce's rightly revered deep house stable, NDATL Muzik, and it's back with 002 here with an EP by rising Toronto producer Marcelo Cruz, who delivers spiritually rich, dancefloor-ready grooves. 'Mi Espiritu (feat Jaidene Veda)' opens with haunting vocals layered over emotive percussion and bubbly drums, then 'Ceremonia' follows with Carlito Brigante's expressive piano dancing atop hypnotic rhythms that bring to mind sacred rituals. Closing track 'Deeper Dreams' dives into raw, underground territory with cuddly bass and stripped-back drums. It's a tasteful one from Nutria Sounds, which seems set to become a crucial new outlet for organic, soulful dance gems.
Alfred Czital & Ayu - "Love Letter From Montevideo" (6:18)
Review: Alfred Czital and Ayu return for their third collaboration and second outing on this Prague-based label. This tightly curated EP blends melodic techno with futuristic trance textures. The result is a spacey and emotionally charged journey. The A-side opens with Czital's solo cut 'Universal Language', is a soaring piece of melodic techno that builds with elegance and power. Ayu's 'Magnetic' follows as an uptempo workout with clever vocal fragments and percussive precision. On the B-side, the duo join forces. 'Physical' is a clear homage to late 90s trance, evoking memories of peak-time anthems with lush pads, glimmering synth leads and a sense of emotional urgency. 'Love Letter From Montevideo' closes the EP on a deeper, darker note that is rooted firmly in techno. A sleek, high-level fusion of techno and trance that pushes both genres forward while nodding respectfully to their roots.
Review: Bowie is a new label that says it intends to "dig deep into the unreleased sides of pop superstars material from the past." The opening gambit is a strong one that should hook you in for more as it comes in the form of a 7" with two fine funk instrumentals, neither of which have been put out before. 'Golden Years' has lovely live drums and meandering guitar licks for some carefree listening, while 'Fame' has a deep cut groove that rises and falls in dramatic fashion with more neat and tidy riffs adding the detail next to the big licks.
Review: Developer returns to his own label with another deep dive into the American's own production archives. What he finds is plenty of his signature groove-centric and mind-melting techno for connoisseurs only. 'Niburian 19' is anxious and urgent with its tightly looped synths and hurried drums. 'Niburian 22' is just as much in a hurry with restless synth motifs busying about the dubby drum loops. 'Niburian 10B' brings a psychedelic twist with synth scribbles bringing real panic to the low ends, and 'Niburian 11' then provides some comfort with a long-form tapestry that weaves melancholic pads with thudding rubbery kicks and a more forlorn, introspective mood.
Review: Keith Tucker aka DJ K-1 is back with more of his stripped-back electro magic, complete with trademark vocoder flair. His 'My Name Is DJ K-1' is a six-tracker EP that is reminiscent of his classic K-1 Agenda era on Direct Beat. The original mix here leans into Kraftwerk-style futurism while DMX Krew's remix adds a darker, sample-heavy twist full of Motor City-style techno and bass brilliance. The 'Beat Mix' is pure looped funk so is perfect for seamless blends while the 'Detroit Jit Mi' offers a full vocal rap with local flavor. The goodness keeps on coming with the 'SPOCK Mix' and its eerie, spacey strings, and the 'NAVI Mix' is a hypnotic bonus beat version soaked in synth puddles and absorbing rhythmic tension. Irresistible stuff.
Review: Originally released as part of Dub Narcotic Sound System's Dub Narcotic Disco Plate series, 'Fuck Shit Up' has stood the test of time as a raucous blend of garage soul punk. The track made waves upon its 1994 release, with its genre-defying energy gaining instant admiration from artists like Beck, Chemical Brothers, The Jon Spencer Blues Explosion (who later covered it), and Make-Up. "We loved this piece of ramshackle punk funk when we first heard it on 7" in 1994 and we still love it now!" said The Chemical Brothers in 2025. Still a staple at underground dance parties, the track has amassed over 100,000 YouTube streams, so for the first time, it's now available digitally, paired with a fresh remix by Hifi Sean, best as former singer with C86/baggy heroes Soup Dragons.
Review: Jamaican vocalist Earl Sixteen's 1980 recording finally lands on 7" vinyl, produced by Earl Morgan of The Heptones and recorded at Harry J Studios. The vocal cut rides a familiar steppers rhythm also heard on tracks by Lacksley Castell and Black Uhuru - crisp, driving, and minimal in arrangement. Sixteen's delivery is measured that sits just above the groove without crowding the mix. The B-side features a dub version mixed by Sylvan Morris. It's restrained, focusing on dropouts and echo placement rather than full reconstruction. Both sides maintain clarity and space, typical of the era's late roots sound. A concise, well-pressed archival issue that foregrounds the essentials: voice, rhythm, and atmosphere.
Review: Rotterdam-based techno label Arts returns with an EP from its founder, Emmanuel, including a remix from special guest German musician Shed. 4 cuts of banging big room techno, the first four tunes don't do anything radical, but they don't need to. These are tracks for DJs looking for fast-paced techno with big kicks, grooved-out percussion & dubby chords. The last track, 'Mascara', is probably the pick of the bunch, a surprising but very much welcome drum & bass cut that wouldn't sound out of place on techno-inspired drum & bass labels like Samurai Music or UVB-76.
Review: The Two Houses is a musical project memorialising prominent members of New York's House of LaBeija and House of Xtravaganza, many of whom have passed away since their founding in 1977 and 1982 respectively. Initially the song was a personal tribute to Simone LaBeija, who tragically died in 2023 but it subsequently evolved into a broader ballroom memorial project when Grammy nominee Rush Davis from Xtravaganza became involved as vocalist and co-writer.
The track is a roll call, an homage and a dedication to the original founders of New York's ballroom community. Those lesser-known heroes who paved the way for the now fully exploited global phenomena we know today.
As Queer, and more specifically Trans human rights come under increasing attack, The Two Houses remembers, underscores and reveres those pioneering artists responsible for the birth of ballroom culture and more broadly, their place in the history of House Music itself.
Review: Ten EPs in under this name and the German producer uses his background to land an important EP with this highly revered techno label. These four tracks hit with urgency but never feel one-note. There's real movement and contrast throughout, keeping things charged without being too fast. The opener, 'Fast Process', comes out swinging. It's all steam and steel, driven by a stomping kick and razor-sharp percussion. But just above that intensity floats a swirling melodic line, adding a ghostly presence that hangs over the chaos. 'Miami Nights' digs into a different groove. The low-end rolls heavy, while tough chords and tribal elements give it a more grounded, earthy energy. It's relentless but rooted. On Side-B, 'Clap Your Dubby Hands' explodes with percussion. It feels wild and physical, the kind of track that could lift a set straight into overdrive. There's a rawness here that nods to his early schranz days without feeling stuck in the past. 'Ultra Eight' pulls back just slightly, going deeper and more spaced out. It's colder, more introspective, like the soundtrack to some strange, distant city. Together, these cuts hit hard but leave plenty of air to breathe.
Review: The MC was one of a kind. His legend lives on through his work which here gets served up on new label Doom in instrumental form. 'Saffron' (MF instrumental) is a silky late-night sound with warm melancholic chords and subtle boom-bap beats. On the flip, things get more jazzy with the expressive trumpets and more raw broken beat patterns of 'Arrow Root' (MF instrumental). It's a timeless and sophisticated sound that will woo any listener into a calming mood and comes on a limited 7".
Review: Kircaali-born producer Imperieux debuts on Hessle Audio with a wildly inventive four-tracker that folds Balkan heritage, rave memory and emotional turbulence into one of the label's most textured statements in recent years. It's a brand new release, and one that's already become a staple in Ben UFO sets i for good reason. 'Fena' opens with a rush of spliced rhythms and serrated synth work, capturing the title's namesake i a mischievous, unpredictable spirit i in full force. 'Sickomode' flickers between murky euphoria and brittle dissonance, a confident slow-burner that feels constantly on the edge of collapse. 'Saat' is the most striking: a retelling of a rave myth via mangled leads, barking textures and a breakdown that stretches into something close to revelation. Finally, 'Cawuso' offers a soft landing i warm, skeletal and full of quiet reverence. Everything here moves with intention but never telegraphs its next step. It's club music with personality: strange, expressive and fully alive. One of the most distinctive additions to the Hessle catalogue in a minute.
Review: Molekul's 11th outing is a various artists' affair with each of them exploring high-impact techno with a retro bent. JKS's 'Express Yourself' is a video game soundtrack for a post-apocalyptic shoot-em up. "Bad Boy" Pete brings dark and driving breakbeats infused with fierce stabs on 'Champion Sound' and Jacidorex brings some warped acid lines to the ever ascending and tightly stacked 'Extinctor.' Vikkei shut down with 'E Fallo Uno', which is an update of a manic hardstyle sound with caustic synths running a mock. Pure dance floor carnage, this.
Review: JR Disc has already become a firm part of the Detroit new school with his two previous outings on this label. Once again here he shows off his raw but emotionally poignant style and knack for a catchy groove. 'Bust' has rusty hi-hat sounds and deep, cavernous bass with rough edge drums a la Omar S. 'Wonder Traxx 1' then picks up the pace with heavy but inviting kicks that are again all frayed and dusty while some jazzy melodies bring a cheeky and playful twist. Pure Motor City gold if you ask us.
Review: Rushing from the starting blocks as though life depended on it, Kahler opens the scoring with the perfectly balanced and fine-tuned 'Mosaic', a driving, percussive techno workout that's direct and peak time yet also minimal and patient, poised even. Grillac follows suit, keeping things ghostly with plenty of energy coming from the top ends, while using a vocal hook to add a little rave bounce. By now, it's probably clear R 0 01 is a strong collection of belters, and the remainder do nothing to quash that belief. Lorenzo Mancino and Exos arguably unleash the most fury - tracks that feel like stepping into a warehouse party in 1999 with a nose full of whizz and stomach full of pills - while BENKHLIFA keeps it more heads down and Berlin.
Review: Irish-born, Manchester-based artist Kerrie returns to James Ruskin's Blueprint label with her third outing for the label, continuing her evolution through weighty, precision-built techno. A fixture of the UK scene and now a resident at Berlin's Tresor, Kerrie draws on her background in record store culture and over a decade of hardware experimentation to forge tracks that are both rigorous and emotionally charged. 'Act Of Resistance' pairs dub-soaked atmospheres with serrated industrial textures, while 'Validation' rides a more urgent, tunnelling pulse. Flip it for the paranoid spirals of 'In Your Orbit' and the slow-burner 'Natural Order', each anchored by detail-rich production and layered groove. Rooted in classic hardware sensibilities but driven by a personal, future-facing vision, this is heady, unrelenting techno with purpose.
Review: Konerytmi is mad prolific, as you probably know - as well as this EP, there is also one dropping on Bordello A Parigi this month - but quality levels always remain high. This 'Megapikseli EP' is a high-definition dive into electro-funk with vintage video game soul. Opener 'Kirsikka' delivers laser zaps and crisp 808s, while the title track brings fog-lit chords and mind-bending percussion, followed by Fleck ESC's cinematic, abstract remix. Side B begins with 'Mikropikseli,' a sun-soaked cosmic journey filled with playful effects and radiant leads, and closing track 'Puro' oozes late-night electrosoul, acid basslines and shimmering melodies perfect for anyone who likes groove-rich electro inspired by the golden age of gaming.
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