Back catalogue: Minimal/Tech House

Review: Given his phenomenal track record and no-nonsense approach, the arrival of a new Robert Hood album - albeit under his alternative Floorplan alias - should send a tingle of excitement down the spine of any self-respecting techno connoisseur. Paradise, his first album as Floorplan, largely eschews the intergalactic flavours of 2012's Motor: Nighttime World 3 (we say largely, as the hypnotic "Change" is undeniably Detroitian in outlook), in favour of tracks that take his rolling, stripped-back aesthetic in a variety of different directions. So, we get the funk-sampling "Baby, Baby", the soulful shuffle of "Never Grow Old" (deep house techno, anyone?), and the rush-inducing, piano-laden blast of "Confess". Impeccable... as usual.

Review: Collections of remixes can be a hit-and-miss affair, but few could find fault with this collection of sterling reworks from the warped mind of Radio Slave, AKA darkroom tech-house titan Matt Edwards. For the last half decade he's consistently hit the mark with a veritable skip-full of epic remixes perfectly pitched at dingy basements and White Isle terraces alike. This excellent three-disc set presents 22 of those reworks in their entirety, showcasing wonky anthems, brain-melting grooves and, on occasion, thrillingly melodic mixes (see the version of Slam's "Azure") that turn previously blissful tracks into nightmarish beasts. Highly recommended.

Review: There was a time, sometime around the mid 2000s, that the Balance series was a byword for quality DJ mixes. While recent volumes haven't been quite so revelatory, this latest instalment from Radio Slave man Matt Edwards is excellent. As you'd expect, it flows brilliantly, with the first disc - the more club-friendly of the two - flitting between melodic deepness, late nights shufflers (see the odd synth solos of Timeline's "Ghosts of Graystone"), hypnotic grooves (an excellent Fred P remix of Nina Kraviz) and afro-centric oddities (No Smoke, Brotherhood, Joe Clausell remixing Edwards project The Machine). Really, though, it's the second CD - a fantastic downtempo exploration featuring modern classical, bubbling ambience and stoned hip-hop - that really stands out.

Review: If you're going to release a remix album, you best make it interesting and worthwhile. That's certainly what Radiohead have done on TKOL RMX 1234567. Based on a series of seven acclaimed 12" singles, this 19-track double CD boasts contributions from some of electronic music's most forward-thinking contemporary talents. Supposedly handpicked by Thom Yorke himself, the presence of Pearson Sound, Shed, Modeselektor, Caribou, Mark Pritchard, Jamie XX and SBTRKT (whose anthemic version of "Lotus Flower" provides a fitting finale) demonstrate the band have more than a cursory grasp of who is doing good things right now. The end product sees widely varied reimaginations that veer between twisted underground techno, stargazing electronica, maudlin ambience and whatever this week's go to term for the UK bass cognoscenti is.

Review: For their latest foray into mix CD territory, Sven Vath's Cocoon imprint have called on the talents of deep house and hypnotic techno types Raresh and Sascha Dive. Their brief is simple: to each lay down a selection fit for Cocoon's occasional Green & Blue parties. Raresh goes deep and percussive on his selection, moving through groove-laden tracks and mixes from Delano Smith, Luciano, Deepchord and Ricardo Villalobos (remixing White Isle classic "Cafe Del Mar"). Dive, on the other hand, takes things up a notch, flitting effortlessly between smart Detroit techno, classic deep house and melody-laden peaktime jams from the likes of Problem Kids, Recloose, Kenny Larkin and Osunlade.

Review: Given the current political climate in the UK, it seems fitting that Romanian minimal house DJ has chosen to open his contribution to Fabric's long-running mix series with Renato Figoli's "Super Lemon Vapor", a track that smartly satirises the attitude of some small-minded Brits to immigration. From here, Raresh runs through some 16 cuts of woozy, tripped out minimal house, peppering productions by his compatriots with the occasional nod across the Atlantic (both Amir Alexander and Hakim Murphy cuts are excellent). If you've seen Raresh play at the Farringdon disco on one of his bi-annual bookings, you know the man has mixing skills and they are most certainly on display here.

Review: Oliver Ho seems to be mellowing with age. Once a purveyor of blistering techno, he's now focusing his creative energy on the warm electronica, snappy beats and wide-eyed melodies of his Raudive alias. This second full-length under that pseudonym (the first, Chamber Music, appeared in 2010) is arguably his strongest collection to date. It effortlessly flits between tumbling, bleep heavy wonk-tronica, fuzzy electro, bleary-eyed leftfield deep house (see the alien funk of "African Wig") and well-rounded efforts at downtempo experimentalism. Notably, it also includes a number of tracks peppered with discordant punk-funk sax, which offers Ho opportunities to show off his knowledge of the New York post-punk scene. "Ruins" and, in particular, "Furniture", sound like Konk brought kicking and screaming into the 21st century.

Review: A collection of lost studio and live recordings from the past 6 years. Musically these tracks follow the idea of the "Anti" album on Hefty records. Dark ambient tracks, beats and pictures: random noise.

Review: 'Anti' was the US debut of the prolific German artist, Marco Haas (aka T Raumschmiere). Based in Berlin, Marco has released music on Cologne's well-respected Kompakt label, as well as Sender and his own critically acclaimed label, Shitkatapult, which he co-founded. The name T Raumschmiere derives from the German language short story, "Die T.Raumschmiere" by William S Burroughs.

Review: On this action-packed double disc set, Rebolledo's brilliant 2016 album Mondo Alterado gets the remix treatment. There's much to admire throughout, beginning with Red Axes' brilliantly trippy, punchy and floor-friendly revision of "Life is Strange". Other highlights include a thrusting, low-slung and trippy revision by Maceo Plex, a deliciously woozy and loved-up interpretation from Superpitcher (think Balearic-meets-post-punk-meets-Teutonic tech-house), a thrillingly percussive take on "Pow Wow Wow" by occasional Optimo Music sorts The Fantastic Twins, and a pair of next-level rubs from Mike Simonetti, whose acid-flecked "Discotico Simonettico En Panico" version could well be the best of the bunch.

Review: Mexican producer Rebolledo has always been a bit of a maverick. While his sound is very much rooted in wonky techno, he has some curious influences, from the heavy percussion of South America and strobe light disco, to the glistening guitar textures of Wally Gonzalez and baggy, saucer-eyed house of his Pachanga Boys collaboration with Superpitcher. On Momento Drive, his first mix CD for Kompakt, he touches on all these strands and more, laying down a set that moves from murky, new wave-inspired techno (Wolfgang Voigt) to surging post-punk rave (The Twins' superb "There's a Twin in The Attic You Lunatic") via organic new disco (Love Supreme) and fuzzy, rock-tinged electro (Gebr Teichmann).

Review: Percussion, rhythms and intricate polyrhythms have always laid down the foundations of Reboot's music ever since he first arrived on the scene three years ago. Since that debut, "Be Tougher / Letters" from back in 2007 on Luciano's Cadenza imprint, the talented German has made a fast and steep rise to becoming one of dance music's hottest properties. He has seen single and EP releases on Cocoon, Below, Love Letters from Oslo, Motivbank, Below and Ricardo Villalobos' Sei Es Drum imprint in addition to highly acclaimed mix CDs for Cocoon and Cécille. Shunyata, his first ever LP marks his return to Cadenza and keeps his ever flowing, tribal polyrhythms at the centre of its sound.


Its title is loosely translated from its Buddhist origins as ‘emptiness’ which is not used here in a negative sense but as a reference to the album’s state of impermanence and constant state of flux. Utilising the album format, Reboot manages to make the individual tracks start at one point and lead to somewhere completely different, keeping the entire record moving in a constant and kaleidoscopic motion. He builds these spiralling grooves or intricate polyrhythms by interconnecting instruments such as congas, bells, cymbals, woodblocks, shakers, steely drums and aluminium barrels, binding them together to weave an evolving groove. Added to that, stranger sound elements such as field recordings, cut up, distorted vocals, pings and gurgles permeate the percussion layers whilst a spongy bed of compressed bass fills the low end.


The focus is once more on the dancefloor as tracks like the peaktime "Hermano," the deepness of "Dreliach" the hypnotic "Me Show," and the darker vibes of "Save Me" all play testament to. However, there are also some more unexpected moments such as the skipping and melodic "Rambon," the spiralling "Down Pantha," the sedate opener "Uruana" and the sampled guitar that appears on "Sanchez Says." It's very structural nature makes Shunyata an album in the true sense of the word, demanding full and repeat listens to fully appreciate its beauty.

Review: There's something deeply personal about this second album from German minimal techno producer Frank Heinrich. Named Deep V as a tribute to his late brother, who used that recording alias, it sees the former Cadenza and Cocoon man deliver a typically hypnotic set of late night techno grooves. With rhythms and soundscapes intensified through the use of field recordings made around the world, and an understandably melancholic tone, it's arguably Heinrich's best work to date. It shuffles impressively, offering the sort of tactile techno grooves that make the most sense in vast spaces at five in the morning. It's a fitting tribute to his brother, that's for sure.

Review: Having previously impressed with the robust On Acid on Absurd/Acid Test, and more thoughtful Hinterland on Ghostly International, Recondite transfers to Innervisions for this third full-length excursion. The German producer seems to be in a particularly introspective mood on Iffy, delivering tracks that variously explore deep, spacious techno (see "Baro"), evocative deep house and bittersweet electronica. For all the sparse rhythms and clandestine atmospherics, there's plenty of picturesque moments, from the unfurling beauty of "Konter" and glacial downtempo shuffle of "Steady", to the tear-jerking shimmer of "Jim Jams" and gorgeous "Levo". As a result, it's probably his strongest set to date.

Review: Tel Aviv-based duo Red Axes seem obsessed with atmosphere. Throughout their short career, they've flit between styles, combining minimal-influenced house and techno excursions with more left-of-centre downtempo moments, all the while retaining a smoky, late night feel to their productions. Ballad of The Ice, their debut album, takes a slightly different approach, mixing murky downtempo sounds with heavy new wave, post-punk, goth-rock and leftfield pop influences. It's a mixture that more often than not pays dividends, delivering intoxicating compositions that bristle with moody early morning charm. Amongst the Cabaret Voltaire, Joy Division and Section 25 influences, you'll also find a superbly spooky cover of Bauhaus's "Bela Lugosi's Dead", which vies with the stomping "Head Like Glass" for "best track" honours.

Review: Repeat Repeat have returned to Soma with their impressive debut album "Squints", a fresh and wonky technoid excursion that exudes a playful sensibility while packing a potent punch. Haywire artist and well-respected DJ Dave Congreve joined forces with fellow acid house enthusiast Mark Rutherford in the winter of 2004. They have released two well received singles on Soma, "Bounce Your Body To The Box" and "Blippy". Mark's strong musical background and Dave's DJing expertise have combined to create an album of emotive club savvy tracks that are odd and compulsive. The title "Squints" comes from the idea that the easiest way to alter your minds perception is by squinting, this notion is in keeping with the Repeat Repeat attitude to manipulating music into a new refracted form. "Squints" is the amalgamation of two years of delving into their machines and twisting out peculiar rhythms and wobbly grooves. They have now created an album to enchant us all, a delirious concoction that is truly varied and original. The album kicks off with the demented squelch of "Flip Flop", a druggy throb that captures the essence of the Repeat Repeat sound. The hypnotic power of "Loops & Boundaries" continues, this emotive piece is warm and layered with thick chords and melody. The gnarling "Crocodile" follows with its off-kilter lurching funk. They have also included a revised version of their first single "Carpark" and transformed it into an atmospheric killer. "Wassily" is dedicated to one of their favourite painters, Wassily Kandinsky, and is a more experimental track with ethereal tones. "Why Must" is a penetrating dancefloor annihilator that twists and turns in all directions. This is already being played heavily by Richie Hawtin. Following on is the Aphex-inspired "Glass" - this infectious track mangles the title vocal amid a sombre and reflective groove. Concluding "Squints" is the massive "Home Stop Welcome", this is the most driving cut on the album with its growling bass, brooding beats and haunting strings. A fitting finale to an intrepid collection of future funk.

Review: On the face of it, German DJ/producer Marco Resmann might not be the most obvious choice to mix the latest volume in Watergate's CD series. Yet it's an inspired choice, with the Upon. You label boss turning in an emotion-rich journey that never settles on any one particular flavour of house or techno. There are moments of inspired deepness and comfy, fireside-warm grooves, but these are tempered by rough and ready or darker selections that showcase his love of sweaty sessions in pitch-black basements. Taken as a whole, it's a fluid journey with a distinct "feel" - something that can't be said for many mix albums of a similar ilk.

Review: It's some 11 years since Franco-German trio Rework impressed with their stylish debut album Fall Right Now, and seven since their last full-length, Pleasure Is Pretty. You Play, then, is long overdue. Interestingly, it sees them blending their usual minimal wave, dark synth pop, skewed deep house and scratchy minimal techno influences with a new-found love of hypnotic, tech-house influenced dancefloor grooves (an unsurprising move, given that this album is appearing on Visionquest, rather than long-term home Playhouse). It's a move that largely pays dividends, delivering an enjoyably stylish set of club tracks that brings their unique trademark sound bang up to date.

Review: Over the last decade, Romanian DJ/producer Rhadoo has done more than most to put the country's minimal techno scene on the map. It's perhaps fitting, then, that he's used the opportunity provided by this first Fabric mix to showcase previously unheard tracks from some of the country's top techno talents. It's a similar tactic to that employed by his good friend Inspirescu on his Fabric mix earlier this year. Just as it did then, it works now, with the complimentary tracks helping to build a cohesive vibe. What's most impressive is the fluidity; from the eyes-closed late night shuffle of Tulbure's "Stalker", to the restless hypnotism of Faster's "Protocol" and the trippy bump of Barac Nicolae's "Frou Frou", Fabric 72 is a coherent journey to the heart of the Eastern European minimal scene.

Review: For the third instalment of Ornaments' self-titled mix series, DJ duties have been handed to label regular Rhauder (AKA producer Marco Rhauderwick). He rummages through two years of label releases, presenting highlights from the German deep house and deep techno imprint across two discs encased in a limited edition metal box. It's a typically deep, woozy, atmospheric and hypnotic set, with Rhauder's decision to group together tracks by particular artists - often taken from the same EP or 12" single - paying dividends. Some label mixes can be a little on the dry side, but Ornaments 3 is nothing of the sort. Variously calming, undulating, winding, percussive and intense, it's an enjoyable journey in the company of one of the label's most reliable artists.

Review: Through projects and labels like Basic Channel, Maurizio or Main Street Records, the Berlin-based producer team of Mark Ernestus and Moritz von Oswald have exerted a decisive influence on the worldwide development of techno-house and electronic music during the 90s. Under the name Rhythm & Sound, Ernestus and von Oswald pioneered their own hybrid of Reggae, Dub and Electronics. In recent years, they have come up with their own and totally unique definition of Reggae. "See Mi Yah" (released in March 2005) is a classic 'One-Riddim-album' comprised of ten vocal versions plus the original instrumental track of "See Mi Yah"- Riddim by Rhythm & Sound. The album had previously been released as a series of 7" singles (including three alternate versions of the instrumental track). On "See Mi Yah" one can hear the voices of Paul St. Hilaire, Ras Perez, Koki, Ras Donovan, Freddy Mellow, Walda Gabriel, Sugar Minott, Willi Williams, Bobbo Shanti, Lance Clarke as Rod Of Iron and Joseph Cotton aka Jah Walton as Jah Cotton. The remix version of the album (which has also seen a previous release in the form of a series of 12" singles) transplants the 'strictly roots' approach of the originals into the club. The result is a diversified collection of excellent club tracks. And while each of these retains its autonomy and its individuality, the whole album sounds as if carved from one piece. While listening to it, one simply forgets that this is a remix album. From dry digi-Dub, UK steppers, minimal Electronic and Disco House to deep atmospheric tracks, all kinds of current club sounds are represented here. With this project, Moritz von Oswald and Mark Ernestus - who after all stem from a club music background - have brought together several generations of DJs and producers. From collaborators of long standing such as DJ legend Carl Craig to promising newcomers, a great array of artists helped to create this album.

Review: As the saying goes, "all things must pass". Before laying their acclaimed mix series to rest, 17 years after its inauguration, Fabric has one more installment for us to enjoy: a celebratory, three-disc set from the three men most associated with the legendary London club since its earliest days. Fittingly, disc one is handled by Craig Richards, the long serving Saturday night resident who also mixed the very first volume in the series way back in 2001. While his disc is largely electro-focused, fellow resident Terry Francis mixes it up a little more, joining the dots between tech-house, ballsy techno and more left-of-centre selections. As for Reilly's disc, it's little less than a celebratory, teary-eyed romp through deep and soulful house. So long, and thanks for all the bliss.

Review: Given his long-admired skills as a selector and DJ, any new mix CD from Craig Richards is a cause for celebration. This contribution to Crosstown Rebels' Get Lost series - his first commercially available mix since 2011 - is no different. Typically, it sees him explore a range of moods and styles across the two discs. Beginning with JTC's "Through The Looking Glass" (a kind of wonky tech-house cover of MFSB's disco classic "Love is the Message"), the first disc is warm, loose and atmospheric, with Richards darting between deep, acid and tech-house cuts old and new. The second disc is noticeably more robust, with a greater emphasis on ragged electro and surging techno. It is, as you'd expect, a masterful and entertaining mix.

Review: Amazingly, it's ten years since Fabric resident Craig Richards' last solo mix CD for the legendary London venue's mix series, and nearly seven since his acclaimed Fabric Tyrant mix with Lee Burridge. This release, then, should be a cause for celebration - not least because Richards' rarely fails to deliver. Over the course of 70 spellbinding minutes, Richards seamlessly moves through the full gamete of tech-house and techno emotions. On the way, he touches on everything from the classic electronica of Two Lone Swordsmen (the still-brilliant "Rico's Helly") and hypno-house of Johnny Fiasco to the Detroitian wizardry of Conforce, space disco of Maurice Fulton and soaring blissfulness of Neville Watson. An essential lesson in the melodic potential of electronic music.

Review: A Little Part Of Shade is the second album from Swiss producer Ripperton, arriving some three years on from his decidedly luscious debut long player Niwa. As was the case with that debut, A Little Part Of Shade sees release via Joris Voorn and Edwin Oosterwal's Green label, and this collaboration heavy album arrives with Ripperton having made moves to establish his own outlet via the fledgling Tamed Musiq label. This thirteen track set is a mature one from Ripperton, demonstrating all new levels of mood setting in an effort to deliver that most elusive of goals; a cohesive electronic artist album. Ripperton's talent for fluidly written, playful melodies is highlighted and the choice of vocalists really makes matters work - see Hemlock Smith's breezy turn on standout track "Tape Hiss".

Review: Despite boasting a discography that would happily fill a small set of IKEA Expedit shelves, Paris-based tech-house producer Paul Ritch has yet to release a full-length. This set, recorded live at the 10th birthday party of Cocoon's Green & Blue party, is therefore his debut album. In some ways it's a bit of an oddity, sitting somewhere between a DJ mix, live album and studio set, but delivers a bit more energy and excitement than a straightforward collection of tracks. Opening with some moody, chord-laden minimalism in the Cocoon style, it quickly turns into a pumping journey through jackin' acid and impeccable late night murkiness.

Review: This is just amazing. Maybe the most exciting minimal dance music you can get these days. Must have!

Review: Following the success of 2011's brilliant Wuppdeckmischmampflow, Robag Wruhme returns the world of the DJ mix with another brilliant showcase of his mercurial talents. This time round, he's eschewed the usual conventions and used the mix to showcase his production skills. Whilst that could come across as a little indulgent, it actually helps the mix. Of course, he's well capable of stitching together disparate cuts, but the use of his own tracks and remixes gives Olgamiks a coherent flow and feel that's never less than sumptuous. His take on house and techno - melodic, melancholic and gorgeously emotion-rich - is near impossible to dislike. As a result, Olgamiks is another understated triumph.

Review: Gabor Schablitzki has long been one of European techno's most underrated talents. Although rightly celebrated within the underground techno community, he's yet to achieve much in the way of wider acclaim, either as a DJ, or for his productions under the more familiar Robag Wruhme and Wighomy Brothers monikers (the latter alongside Soren Bodner). In many ways it's a shame, because his particular take on the German minimal sound - soft, melodic, warm and shuffling, with just a hint of swing to the percussion - is far more attractive than the stripped back darkness favoured by many of his contemporaries. Whether you're a confirmed fan or a first-timer, you'll find plenty to enjoy on Wuppdeckmischmampflow, his first solo DJ mix for Kompakt. Like 2008's similarly wonderful Wighomy Brothers mix MetawuffmischfelgeA.A., it inhabits a kind of strange no-man's land between DJ mix and production showcase, with individual tracks taken apart, reworked and fused with others to create one smooth, winding hour-long journey. So, for example, tracks by Villalobos, Tiefschwarz and Schablitzki himself merge to make one beautifully melodic whole, before dropping effortlessly into an FX-laden version of Chateau Flight's "Cosmic Race". With tracks by Guillaume & the Coutu Dumonts, Claro Intellecto, Four Tet, Koze, Moderat and Ian Simmonds getting a similar treatment, the results are rarely less than spellbinding.

Review: Greetings: Hello listener! What you are about to listen to (or maybe you are already listening to) is a live set/mix I performed at Chris Liebing's SpinClub night in Ibiza. All the tracks you hear on this recording are either original tracks I have done through the years, remixes I've done for people, or just loops, patterns & sounds I've created specifically for the live set. The whole set in its entirety was around 1:30+ so I had to edit it down to fit on a CD. Don't worry I'm sure all the good bits are still in there! I hope you enjoy listening to this mix at least a fraction as much as I enjoyed playing it. The blend of tracks you hear is a progression of energy and emotion that was going on throughout night while I was playing. Hopefully with the right settings in your car, home stereo or wherever, you can close your eyes and picture yourself there! Enjoy. A Bit About The Night: All the SpinClub nights were set on Sundays. My particular night "No Sleep 'Til Brooklyn" was set on August 6th. Chris had contacted me a few months prior to the show asking about what kind of a set I played and if I would be interested in playing his night in Ibiza. Naturally, I was ecstatic! In addition, a good friend of mine Nick AC from New York was a co-resident for the night with Chris so that was an awesome bonus. After coming straight from a weekend of shows and having never been to Ibiza, I had no idea what to expect. Shortly after arriving it was straight to the club for sound check where I set up all my gear and a few MIDI controllers. Everything was still sticky and smelling funky from the night before. (Ya gotta love touring.) After dinner and a few winks of sleep at the hotel, it was right back to the club. The night started with Nick AC playing a haunting blend of electro/minimal flavoured tracks that totally got everyone swaying and eventually dancing once the club was full. Next, I went on and what you are most likely listening to now, is the result. It was a totally magical night. The crowd was 100% energy and they were along for the ride anywhere I was driving them. After working the crowd into a frenzy, Chris ended the evening in signature form taking everyone to the point of no return. Truly, this was an evening to remember.

Review: Few British techno acts are quite as lauded as British Murder Boys, the industrial strength collaboration between Regis and Surgeon. Throughout the early-to-mid 2000s, their distinctive EPs provided the soundtrack to many great moments in dusty basements, dark rooms and sweat-soaked raves. Whether you missed out first time around or simply want a trip down memory lane, this career retrospective should be an essential purchase. Alongside 12 hand picked tracks from the catalogue - the vast majority in their rolling, pounding, industrial strength style - the package also includes in-depth sleeve notes from Blackest Ever Black boss Kiran Sande, and a DVD of the duo's dystopian 2013 live show at Club Unit, Tokyo (excerpts from which were released on 12" last year).

Review: Having moved from Bristol to London, London to Berlin and Berlin to California, veteran Brit house producer Jesse Rose isn't a man short of native influences. Musically, such globetrotting has clearly influenced his approach to house, which has shifted over the years from broken beats and fidgety bump to emotion-rich, bass-heavy deepness. Made For The Night aptly proves this point, offering both a mix CD of current favourites (entitled "Mixed For The Night") and a disc of his own productions and remixes. Taken as a whole, it's rather revelatory, showcasing both his current approach to DJing (deep, bumping, heavy on bluesy vocals) and the production skills that propelled him to international A-list status. As career summaries go, it's near faultless.

Review: London DJ/producer Jesse Rose has been involved with house music for more than half of his life. He began playing at parties and clubs in his early teens with Jamie Anderson, but he still thinks some of his peers got a head start. "14 isn't that young. You hear of US DJ's playing parties when they are just 11". "Body Language 3" sees Jesse condense a typical three-hour set into just over 70 minutes, with deep chords, trippy acid undercurrents and chopped up vocal samples from hip-hop - what he listens to at home - appearing in the shuffling, drummy grooves. "Using hip-hop samples is part of a general attitude," he says. "If you listen to house music when you're making house music, that's when things go wrong. I did the mix using two turntables and a CD deck and it took me three weeks to do properly. Don't ask me why I didn't just do it on a computer - maybe I feel DJing should be involved, a performance, rather than just looking like someone checking their emails on a laptop."

Review: Rotating Assembly is a new band put together by Theo Parrish. This loose Detroit outfit revolves around 21 people, who exchange talents and energy. All tracks are written, produced and masterminded by Theo Parrish, who has given them his signature sound. Artists included in the band are: Genevieve (known for vocals with Recloose), Maat Lo (aka Billy Lo), Marcellus Pittman, Rick Wilhite (3 Chairs) and Warren Harris (recorded with Dan Curtin). Also people such as Karen Bosco (most vocals) John Douglas (trumpet) and King Sunshine & Trent Mitchell (double bass) put in incredible effort to make this release a top title. From the laidback vocal tune "Naturally" to the instrumental emotions of "Melt" it's all there to make this album an all round experience. From strength to strength, Theo Parrish takes it to the next level once again.

Review: Wily Sven Vath turns to Dana Ruh and tINI to compile this year's edition of the Cocoon Ibiza mix series, with the highly respected selectors each turning in a disc that accurately reflects their respective styles and sounds. Dana Ruh calls shotgun, laying down a 15 track selection on what is essentially her debut commercial mix with Ryan Elliot's edit of Szare a highlight along with Amir Alexander's deep acid cut "Infinity" under his Ritchie Ratchet alias. Ending on Nicuri's cavernous epic "Holding The Four Winds" is a nice touch too Dana! Her compatriot tINI excels too, veering off down the minimal wormhole on a 14 track mix that takes in Jesper Dahlback's Persuader project, TC Studio and Anthea among others.

Review: Amazingly, the first (and previously only) installment of Leftroom's Don't Be Leftout series was released way back in 2007. That time, it was simply Matt Tolfrey at the controls; here, he joins forces with Visionquest regular Ryan Crosson for a typically deep, intoxicating, tech-tinged mix-up. Interestingly, every track is exclusive to the compilation, with previously unheard originals from Huxley, Gavin Herlihy and H-Foundation being joined by a slew of brand new remixes and re-edits from Mr Fingers, Matt Tolfrey and Ryan Crosson. As a result, there's a fluid freshness to Don't Be Leftout that's hard to deny. It is, to put it bluntly, an impressively intoxicating journey.