Review: Planet Orange Records' fifth release is a four-tracker from the legendary minds behind Alien Recordings, aka A2 and Stopouts, who take one side each. From the opening moments, the Beyonders EP weaves a thread between the halcyon days of tech and minimal from the 90s but with forward-thinking energy. A²'s 'Glider' is a happy, piano-laced celebration to start with ,then 'Let's Get It Together' cuts loose with lithe pads and more mid-tempo drums. Stopouts steep up for the flip and soon melts the mind with some tightly woven acid and cosmic tech on 'Sin City' and 'Kartwheel' then brings a more freewheeling and loopy groove with some neon colours dripping down its face.
Review: Following the success of his 'City Smile' EP, Aleqs Notal is back with more ear-piquing goodness in the form of this latest boundary-pushing vision. The EP is said to be unified by a central theme of self-acceptance and covers plenty of ground, from the deep and meditative essence of Chicago-inspired 'Pain Of Truth' to the more loose 'Talk' Em Down' with its snaking bass and eerie chords. 'Crushin'' sits somewhere between the two, with analogue textures and a firmly rooted groove forming the foundation for percussive and synth layering. 'Instant' has brilliantly pinging 909s and humid chords. This is Aleqs Notal at his most expressive.
Review: Lempuyang is a label you will know and respect for its high quality stream of immersive dub techno and now the man behind it, Alastair Kelly, debuts a new label with none other than revered UK techno mainstay Ibrahim Alfa Jnr. He opens up with 'Component A' which is a moody melange of slow, broken dub beats and fizzing synths. There is further experimentation on 'Untitled B2 1' which pairs a churning dub rhythm with naive and innocent melodies and lots of li-fi static. 'Entangled' ups the ante with the suggestion of a fast paced rhythm through a skeletal groove and the flip brings broken beat dub weight, meaning and percussive bass with a 2-step swagger then deep introspection on the closer. A classy EP that suggests this label is one well worth watching.
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: Emergent talent B Ai, hailing from China, contributes to Paris-based label and Chat Noir family member Cosa Vostra, following storm surging releases on Motivation, Altered Circuits and Picnic Records. Spanning post-EBM lasershot fires and SFX-ed spanners-in-works, 'Act5' kicks off 'Blue Or Red' with a tense introductory interstate hyperride, while 'Glance Back' offers us a contrasting chance to look back down the road on whose mac we've just blazed a thick, blackened tire tread trail. Diego Santana crops up on the B1 titler, guiding through a tight Italodance au-diorama, while another fellow producer, David Agrella, lets us down further on the synth tubular breather 'Danse'.
Review: This Biscuit release is a fierce four-track punch built dancefloor disruptors. Opening the A-side, France's BOOH (aka BOOOoo! Records co-founder) delivers 'Hidden Between Two Ferns,' a punishing blend of EBM and electro that morphs with dark energy. A2 sees Argentina's Micro.Tron bring pure electro muscle with 'Microclima Robot,' a rhythm-heavy cut that hits with precision. On the flip, JJ Fortune drops the epic and destructive 'Then I Dropped It' while Vloon closes with a snarling, high-voltage electro weapon. Raw, trippy and relentless, this one's built to shake basements and bend minds.
Review: Margate-based Braga Circuit showcases a refined signature style and knack for killer sampling with this standout debut on Air Miles. 'Fall' kicks off with amped-up chord stabs and brilliantly well-swung, rolling kicks that soon get those hips moving. 'Closer' oozes summer cool thanks to the balmy chords that soften the percussive, garage-flecked house drums. There is also plenty of Kerri Chandler soul in these here beats that makes them all the more essential. 'Filter Feed' layers up dusty perc and thudding kicks with sultry vocal whispers. It's steamy and irresistible and last but not least, Leod is another talent from the coastal town of Margate and remixes this one with a more direct and dubby style.
Review: Esente Records' young journey continues with a second offering that builds on the good work of the first. This one comes from Bucharest's BRYZ and is a masterclass in refined electronic minimalism. Opening up the trip is 'Slippery,' a fluid blend of supple rhythm and texture with plenty of characterful sound designs and details peeling off the beats. 'Self Definition' follows with introspective tones that invite personal exploration and on the B-side, 'She's Infinite Bliss' delivers an ethereal, almost otherworldly atmosphere while 'Eternal Sheevy' closes the journey with a timeless, lingering resonance. Each track reflects the deep, minimal aesthetic Esente is known for-subtle but not lacking power, and introspective yet dancefloor-ready.
Review: Chunky, cheeky minimal house and techno from Murmurations signee Leo Christopher, based between London and Leeds. Stretching his time between DJing, remixes and original productions - there's a very special Leviticus' 'Burial' remix floating about the ether-net somewhere - one can sense that Leo carefully plans his many productions for a wide variety of impromptu situations. 'Decorated' and 'One In The Groin' each bring humoured but ultimately deep shuffles to the dance, the latter track especially proving "garagey" enough to cater to any given proverbial Room 2. The B strips things back to dubbier territory, with the Delilah collab serving hollowed-out vocals, and '080 Lounge' depositing carefully placed bongo hits and chords across a clacking rollage.
Review: REPRESS ALERT!: Drop Music marks a marvellous quarter of a century of releases with this new slab of vinyl featuring some gems from disco funksters Crazy P and the house mainstays Inland Knights. Crazy P go first with 'Disc Odyssey' which is perfectly indicative of their much beloved sound with its low slung kicks and funky bassline. Inland Knights then offer a trio of in demand & unreleased tracks. 'Overnight' is a bumming deep house joint, 'Walk On' has an icy late night vibe and balmy pads and 'Do It Again is a more playful closer, with some killer b-line action. All four, needless to say, are timeless gems, and the fact the last two are appearing on vinyl first the first time makes it an even more desirable cop.
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 Paris-based producer pulls in a tight circle of remixers, each putting a distinct spin on a few of his recent tracks for his own Bass Culture label. Darren Roach's remix of 'Money, Honey, Monday' stretches the original into a spacey, progressive journey. The atmosphere is thick with delay and synth haze, but it still hits with the steady pulse of a house record built for peak time. Sweely steps in on 'Nu Bass' with a funkier approach. It's playful and full of bounce, guided by a deep bassline and flecks of disco that make it hard not to move. Melodic without getting sugary, it's a proper mood lifter. Side-B leans into the deeper end. DJ Deep's version of 'Nu Bass' goes darker and more hypnotic. It's tracky, minimal and slick, perfect for long, late-night times where you want to lose yourself. Hostom wraps it up with another take on 'Money, Honey, Monday'. This one built around a rolling bassline and polished production that gives it a bit of a restrained punch. A solid pack with plenty of replay value.
Review: Marvin Dash and Lowtec combine to serve up some house grooves here that perfectly embody the Workshop sound. They are lovably loose-limbed, dusty and ramshackle, and almost feel as if they may fall apart at any given moment, but that is the joy of them. Instead, they keep you locked amongst rickety drums, frayed pads and imperfect little vocal hooks that bring the soul. 'Track 1' does that with a hazy feel, 'Track 2' is more one out with a dubby undercurrent and sustained keys and 'Track 3' brings little more prickle and drive, like a super raw Omar-S track. 'Track 4' is all about the prying, bulbous bassline that unfurls with a mind of its own beneath DIY percussive sounds.
Review: Dashiell has been road testing these two tunes in his sets for a while, and they have always done a job. They finally arrive on wax courtesy of Foul Play and are sure to get dropped all over the place this summer. 'dfuse all the tension' is the right mix of driving tech but wonky minimal. The bassline is drunk and all over the place while the lead synth has a retro video game feel, and some crisp melodies and refracted vocals finish it well. On the flip, 'da nastiest' is faster and more direct with some turbocharged and bass-driven tech house characterised by another sleazy vocal and phased synth lines that bring a playful twist.
Review: Not to be confused with the heavy Dutch electro hero of the same name (he of Klakson Records fame), Dexter was the early-to-mid 2000s alias of UK tech-house producer Matt Royall. Sushitech Records recently released a retrospective of his work, Past Moves, and now German label Repeat has decided to reissue 2004's Size Counts EP. A-side 'Break It Down' is deep, druggy, chuggy and pleasingly off-kilter, with delay-laden spoken word snippets and echoing hand percussion hits rising above a driving bassline and hypnotic, locked-in drums. The pace and intensity increases on flipside 'Once Again', a kind of Hipp-E & Halo style West Coast tech-house workout rich in trippy female vocal snippets, ghostly chords and dubby bass.
Review: Dark tech house's current Olympic torch-bearer, Inermu, present the seventh edition in their very own vari-prod vinyl series. A polysemous production outfit whose guises vary, this new one from Dexter James and Dominic Aquila presents a hard-nosed heater from the lockoff London crew. With most of their releases having been housed on black labels so far, this one is an exceptional whiteout, with lemni-skating delays and conga-happy tribal drives resounding across 'Tougher & Darker' and 'Music For Dark Rooms'. 'No Other' completes the record with a downtime B-side, with subtle pad swirls and taciturn talking drums working well as substitute basslines.
Review: DIGWAH marks its tenth release in style, maintaining its signature mystery while delivering two standout cuts that embody the British label's underground ethos. Side-A's 'Wayside' is a clutch tech-house banger that has finesseiclean, classy and an irresistibly groovy. A crisp breakbeat underpins a funky rhythm, while a strong vocal hooks you in, giving the track a timeless yet fresh feel. This is underground house at its best, effortlessly balancing sophistication with dancefloor heat. On the flip, 'Demeanour' leans into ghetto tech-house territory, with a weighty bassline and infectious r&b vocal samples. The groove is deep, the funk is undeniable and the track's raw energy makes it an instant mover. Another essential release from DIGWAH - stripped-back, hypnotic and built for those who know.
Review: He's the original (and maybe only self-proclaimed?) house gangster and he is back in 2025 and sounding as good as ever. Puerto Rico by way of Chicago's DJ Sneak makes beats as raw as the meat he likes to chuck on his BBQ grill and UK house legend Nail must be a fan cause it's his label he lands on now. This is a solid four-tracker that ticks all the boxes with its killer grooves and smart loops. 'All I Need In Life' is a playful opener, 'Das Gud!' gets more intense and trippy with its bleepy melodic refrains and 'Help Me Somebody' then sinks back into loose and dusty, disco-tinged drums with classic cowbell hits. 'What You Expecting From Me' is a sweaty and gritty warehouse banger to close with aplomb.
Review: Amulanga, operating out of Thailand, emphasise beauteous atmospheric progressive house, pairing each compilation with exquisite, extra-worldly sci-fi themes. Their latest, sixth vinyl V/A hears additions from Dulus, Acrobat, Ilias Katalenos & Plecta, Taleman and Shri & Alej, each track a seamless infusion of living, writhing organic sound. More than just music, the aim is to imply a narrative, shuttling and transforming listeners over and beyond centrifugal, interplanetary orbits - not just dancefloors.
Review: Formerly known as AI Robot, Calin Dumitrescu refound his human side under his own surname as alias, having found residence in local labels Atipic, Particular and Unutrei since 2020. His debut for Myriad Records finds the third EP in the UK label's catalogue, with the headshaking chords and feverish acids of 'Acid E' helping synthesise a pharmaceutical drug we didn't know could or should exist, while 'Lucid Dream Gone Fucked Up' implies the necessary disturbance of a dream we'd never want to wake up from, by the intrusion of mechanic breaks, spy-vs-spy basses and creepazoid pads. The final two, ending on the perc-heavy 'Play Pause', contrast the A with a celebratory mood.
Review: REPRESS ALERT!: Few labels do minimal as well as Trelik and in terms of artists, Edward is also as good as they come right now. This perfect pairing opens up with the deeply alluring 'Time' with its woozy pads and smeared chords over warm and rubbery drums. It's a hypnagogic affair then 'Vacuum Tube' has a more menacing air thanks to the wispy and unsettling synth details and clunky hooks. 'Watch Out' brings a more spangled and rubbery rhythm that has colourful details peeling off the beats and last of all, 'Stream' ups the ante with some thudding deep house and widescreen ambient synth work.
Review: EEE keeps it simple, with the artist, label and EPs all given that simple naming convention. It means there is nothing to focus on but the music. Which is fine by us as this 18th such outing is another doozy that should slip into your record bag post-haste. 'Track 1' has 90s organ chords and a deep, rolling bassline working together to soon get you moving while sustained pads and dry per add detail as a tempting vocal lures you in. On the flip, things are a little less pared back with some widescreen synths adding cosmic scale to the potent tech house drums. Tidy tools.
Review: Fedo prides himself on exploring beyond the usual genre tropes you get in minimal and tech house worlds. Opener 'Sin Titulo' goes some way to proving that with its innovative take on club-ready tech and boiled-down minimal synths. 'Calisthenics & Coffee' is a trippy blend of smooth bass and undulating neon pads. Warped vocals also pepper the mix to keep the brain and body occupied. 'Film Noir' indeed brings a darker energy and 'My Weapon' shuts down with some razor shape precision.
Leave Those Memories (feat Veronica Marini) (5:32)
Review: Italian duo Lorenzo Fortino and Brody return with their third collaborative release, further refining a sound that drifts between deep house, electro and moody, politically conscious techno. Their work has always carried a sense of purpose, but here it feels more dialled-iniless ornamental, more direct. Opener 'Our Truth' stretches over seven minutes, layering synth washes and sparse drum work around processed vocals that feel halfway between meditation and manifesto. 'Homemade Mould' is tougher, rooted in chunky house drums and dubbed-out atmospheres, tapping into the rawer side of their shared palette. On 'Deep Freedom', they introduce vocalist Veronica Marini, whose debut here is remarkableiher voice rises with clarity and control through a lyrical call to action that's both elegant and forceful. That same control shapes 'Leave Those Memories', where she softens into something more introspective, folding jazz phrasing into a smoother, bittersweet house groove. Both tracks also appear in instrumental form digitally, but it's Marini's presence that elevates them into something quietly luminous. While rooted in the familiar structures of club music, this release reaches for something deeper and often gets there.
Review: The SEVEN label has an 'in-between house and techno' ethos and next to tap into that is Berlin-based Tal Fussmann with some 90s-tinged prog house that radiates feel-good energy. Blending genre fluidity from the off, 'No Disco' is percussive and freewheeling but with a rebounding low-end and a clear dancefloor focus. 'Release' taps into driving techno territory and is infused with shimmering machine soul warmth, 'Sunset Falling Down' is a clubby broken beat with real poppy intensity and 'Is It Real?' Is a buoyant, arms-in-the-air house closer. The 12" is elevated by a standout remix from Swiss maestro Deetron, who brings some trademark depth.
Review: London label ENDZ marks its 60th edition with Scottish producer Gaskin at the helm, a man who's been steadily making his mark with a knack for raw, no-nonsense club cuts. This is peak-time energy - the opener 'Inspired Eyes' moves like a coiled spring, tight percussion snapping against a rolling low-end that feels primed for sweaty basements and strobe-lit corners. 'No Limits' ups the ante, all rugged bass pressure and crisp two-step momentum, while 'Across The Globe' takes a wider, more dynamic swing, fusing its punchy grooves with restless movement. ENDZ has always been about stripped-back, high-impact club music, and this latest entry is no exceptionia sharp, unfussy dose of dancefloor damage.
Review: This one hits like a love letter to the raw energy of early warehouse nights. From a UK producer who's been around the block more than a few times, the EP drips with old skool DNA but never feels like a copy-paste job. It's gritty, sweaty and awesome. 'Moved (part 2)' kicks things off with a pounding rhythm and a melody that instantly pulls from the golden age of rave. There's something serious in its tone, dramatic even, with a warped vocal sample urging you to move. Think late nights with strobe lights, where records like 'Energy Flash' or 'Testone' were gospel. 'What Is Houz' flips the mood but keeps the intensity. This one rides a low, tracky groove, dipping into minimal and funky acid touches that feel tailor-made for a dark room dancefloor. Turn the record over and you're tossed straight into the breakbeat jungle with 'Satisfaction'. It's all rattling drums, big vocals and classic rave swagger. No subtlety here, just full-throttle. 'The Prowl' closes things out on a moodier note, with acid lines creeping through a dark, melodic structure that echoes vintage Belgium techno. It's the sound of someone who's been through every era and still knows how to light the fuse. This isnt a copy cat trip down memory lane. This really makes you feel like a movement could happen again with these vintage sounds.
Review: Danny Howells is one of the UK's natural electronic music treasures. He was there in the early days of prog and remains a singular artist who now debuts on another fine institution in Radio Slave's Rekids. His new EP that blends deep house warmth with subtle progressive flourishes and finds him teaming up with keyboardist Elliot Herrington. The title track shimmers with late-night fuzz, while 'Thrunk' builds around a rare-for-Howells bass-first approach that has already made it a favourite among selectors like Honey Dijon, DJ Sprinkles and Jennifer Loveless. All in all, another triumph for Howells.
Review: Hastings-born prog/tech veteran Danny Howells' latest foray into the world of house music proves once again why he's a staple of the scene. Lead track 'Powershow' is a sprawling 12-minute exploration that encapsulates everything great about houseideep, soulful, yet endlessly driving. Following that is 'Stereodrama,' which shifts gears slightly, upping the ante with a raucous, percussive workout. It's a perfect reflection of Howells' deft touch for crafting emotionally resonant yet unrelentingly danceable moments. Finally, there's 'Earthlings X,' a track that might have been created years ago but still feels entirely of the moment. Despite being Danny's first release for Selador, it's aged like fine wineiits ever-present freshness matching its ability to still sound like a future classic. It's the kind of cut that seems to embody everything Howells stands for, the perfect intersection of intelligence, energy, and soul. Sounding both timeless and cutting-edge this is another feather in his already many-feathered cap.
Review: Infinity Plus One channels the murky heat of 90s Detroit into four cuts that throb with machine soul and analogue bite. Based in the UK, the producer debuts with a raw but focused blend of electro, house and technoihis nod to the Motor City filtered through a distinctively UK lens. 'Innocent Beginnings' pairs chunky kicks with haunted synth washes, laying the groundwork with a bass-heavy strut that feels both grounded and widescreen. 'Dusk And Darkness' leans darker, stitching 808s and breaks into a rolling, rave-adjacent groove, all tension and propulsion. On the flip, 'Stand For Love' dips into classic deep house mode, slowing the pace for a moment of emotional clarityigentle pads circling a tender vocal loop. Closer 'Ubiquity' rides a twisting bassline into atmospheric club gear, its big stabs and lurking low-end pulling dancers into a heady zone. A full-spectrum debut that honours the roots but refuses to settle in them, this is warehouse music made with reverenceiand a sense of forward motion.
Review: London's leading dance distractors Lirica Archives relive a hallmark of the house music catalogue from Jewellery, the zircon brainchild of the late brilliant Murdoch Matheson and an unnamed collaborator. Matheson's death is said to have left a wanting gap in the music world, and the fact that this was his sole release under the Jewellery name only adds to the mystery. The early 1993 record 'Voices' was a singular gem in its own right, crowned on the equally flash girdle that was Aeoniokinetic Records - in the words of one Discogs digger, "deep and melodic early progressive house on an obscure label with only a single release." For those who like their gems so rare as to be thought investment-grade, listen no further.
Review: Definitive Recordings throws it back to 1994 for 'Do It' a house classic by Las Americas, which is a legendary project by David Alvarado. Newly remastered for 2024, this edition includes the original version as well as a refreshed Chuck Phulasole remix and two dynamic new takes from Italian producer St. David, who brings his vintage-inspired style in all its glory. He delivers a playful 'Big Tool Mix' with vocal flips and infectious grooves alongside a funkier 'Drum-Tool Dub' packed with sharp guitar licks. The original's hypnotic basslines and soulful vocal hook still shine, while Phulasole's deeper remix adds rich keys and Moog warmth. Lovely stuff.
Review: Lo U returns with four club ready cuts that fuse the best of UK garage, breakbeats and deep electronic textures into contemporary killers. The EP opens with 'Transitus' where crisp UKG rhythms collide with a dark, neurofunk-inspired bassline then 'The Green Planet' follows with classic 2-step swing and a warped, heady breakdown. On the flip, Lo U revisits a label staple with a refined take on 'Platus Karma', injecting fresh style into the original while keeping its soul. Closing track 'Eresia' ventures into expansive, cinematic territory/. It was recorded live and sculpted in the studio so has a fresh feeling that blends broken beats with immersive soundscapes. All in all, a versatile release from a producer in peak form.
Review: In signature cinematic melodic techno style, Mind Against and Cay bring 'Cant U Hear Me / Trust', laying thick a hi-tech fusion of soulful house and synthetically squeezed sound-energy. The thrumming heartbeat of UK club culture is heart sifted through a harsh cyborg grate, reducing things to a metallurgic, pulmonary pulp. Crystalline percussion, cascading synths... 'Trust' makes particularly pristine use of untainted pluck design, with peaking plucks wriggling in the mid-high layer like buds on a mecha-euphoric flower (just look at that front cover).
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: Mystic Bill (real name William Torres) has been making music in Chicago since the late 1980s, though it's only since the mid 1990s that his records have been appearing in stores. Here he makes his bow on Rawax offshoot ChiWax with a set of cuts loosely inspired by the long-held Windy City trend of fusing elements of jacking house and jazz. He begins in typically forthright fashion on 'Pitmaster Ritual', where jacking acid house drums are overlaid with spacey synth solos and jazzy electronics, before unfurling the chunkier and more locked in, organ-sporting shuffle of 'We Play Jazz'. Over on side B, '4 Paul' is a wholehearted tribute to sadly departed Chicagoan house great Paul Johnson, while 'This Side of the Tracks' is deeper, warmer and altogether weirder in the best possible way.
Review: Owen Ni invites us on a sonic exploration with this ten-track release, a journey through the realms of ambient electronica and deep listening techno music. 'Beyond Flyhigh' sets the tone, its expansive soundscapes and hypnotic rhythms drawing the listener into a world of introspection and wonder. The Raytek remix injects a pulsating energy, transforming the original into a dancefloor-ready odyssey. Elsewhere, tracks like 'Mover' and 'Arqs2600' delve deeper into hypnotic textures and intricate sound design, creating a sonic experience that's both arrestting and thought-provoking. 'We Are Here' and 'S7lverbox' offer moments of quiet contemplation, their delicate melodies and atmospheric soundscapes inviting a sense of peace and reflection. The release closes with 'Epilog', a fitting conclusion to this immersive journey through sound and emotion, leaving the listener with a lingering sense of wonder and possibility.
Review: A cornerstone of early 90s electronic music, Orbital's Lush resurfaces with renewed energy through the Orbital LEDs reissue campaign. Originally released in 1993, the EP is a masterclass in melodic techno, featuring the iconic 'Lush 3-1' and 'Lush 3-2', two seamlessly interwoven tracks that exemplify the Hartnoll brothers' knack for crafting emotionally resonant, rhythmically complex soundscapes. Reissued on 12" with striking new artwork by Intro, this edition includes heavyweight remixes by Underworld and CJ Bolland, whose reworks push the tracks deeper into the club stratosphere. Underworld brings a dense, propulsive momentum, while Bolland injects a sleek, hard-edged urgency. Yet it's Orbital's originals that remain the centerpiece. Those epic gliding arpeggios, layered synths and rolling percussion conjure both introspection and euphoria. A vital part of their Brown Album, Lush helped define the progressive techno movement, influencing generations of producers. Three decades on, the tracks still pulse with a timeless vibrancy.
Review: Heady house label Courtesy Of Balance only releases music that you know will stand the test of time. It's informed by the classic schools of deepness but always with a modern touch and unique character, and next to carry that torch is Ostrich aka Nadir Agha. He's in charge of curation at Montreal's legendary Stereo Club and shows his class here with opener 'Snake Charmer' which is built on a dynamic groove foundation and embellished with wispy pads that take your mind on a wander. 'Promiscuous' is heavy, dubby house stripped back to the core essentials and perfectly executed. 'Buttered Up' is a little more mobile but embellished with nothing chords and smoky vocal soul and 'Broken Science' closes with a brilliant broken beat flourish that is full of jazzy invention.
Review: Long-serving Italian producer Marco Passarani continues his newly minted Studiomaster label project with its second instalment, serving a quintet of typically floor-focused jams on 'The Temple' EP. Arguably best known for being one half of the looped-up disco duo Tiger & Woods, Passarani is also known and loved for the more techno-tilted offerings he turns out from his hometown of Rome. His latest work sits somewhere in between his two trademark sounds, starting with the throbbing sleaze of opener 'The Empty Temple', with its purposeful bass, paranoid synths and dirty vocal whispers. The fierce, snare-driven rhythms of 'Night Walker' power grubby bass and glistening synths, while the descriptively titled 'Rotten Disco' offers a brilliantly wonky glimpse of future Italo. The distorted percussion and jagged bass of 'Dirty Hands' are aimed squarely at the floor, while the storming closer 'Cheater's Smile' bangs as hard as nails to complete a suitably stirring and tightly produced set.
Review: Marcellus Pittman is one of the Motor City's finest. The long-time house explorer has a singular sound that is built around brittle drum loops, hissing and dusty hi-hats and loose-limbed arrangements that are stark and dehumanised but somehow full of intriguing machine warmth and soul. Take this EP, 'Loneliness Leave Me Alone,' first dropped back in 2010: the title cut has bouncing, bulbous bass and jacked up drums that sound both menacing yet playful, which the fizzy, sugary chords spray across the mix like a mist of pixelated water. 'Razz 09' has that Omar-S style melancholy and trudging rhythm that's heightened by the curious melodies which unfurl with a mind of their own in the background. Superb.
Review: DBH welcome Mihai Popoviciu & David Delgado the the Pleasure Zone series with the 'Evolution' EP. Bringing jazzy, sloshy, jerking flavours to the tech house palette, 'Evolution' and 'Shifting' evolve and shift, convoking a delegated moot of propulsive chords and forward-driving janks, conveying the mood of a finely tuned closed clockwork system chugging away like the central engine of a wider contraption. Closer 'Black Light' operates more readily in the lower regions of things, proving unafraid of sounds that lean towards the more peripheral and umbral.
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