Back catalogue: Minimal/Tech House

Review: The only known diplomatic dance musical dialogue between Leeds and Barcelona can be found in the cross-national collective MASS, whose principal aim is to connect the two cities as identified hubs of the next-gen dance musical underground. Here the personae grata in question are a crack team of trusted delegates, known by the respective codenames AS Groove, Driahn, Monile and Nikon; each artist-negotiator delivers their own firebrand sonic missive in quick, electrific unison, appeasing the collective ear through a four-point transmissive treaty. Either breaks-laden or bleep-laden sound is stipulated depending on which fine-print line you read and/or which finely-etched groove you play; only track four, 'Seismic', trigger the break(beats) clause.

Review: Fledgling label Sismo looks to Uruguayan talent Luis Malon for their next offering. He is based in La Barra and brings plenty of the signifiers those tuned into the Uruguay underground will recognise. 'Broken Bridge' is stiff, mechanical tech house with a real urgency and thumping bass. It's nicely undercooked production-wise but sure to overheat the 'floor. 'Pio's' is another metallic club sound with woozy pads up top, softening things somewhat, and 'Robota' has a gritty undercurrent and melancholy in the chords that chimes with the work of Omar S and the Motor City. 'Robot Dance' spins out on slapping broken beats and industrial cosmic energy.

Review: Weirdo minimal tech soul, anyone? Any takers should be directed towards this oddball release from Melchior Productions and Paul Walter. Two tracks of serious strangeness: timestretched vocals and repetitious yeahs blossom between the beat-thickets of Melchior's 'Yeah X 3', while many more percussive hits and cuts and clicks and pops and booms come courtesy of Walter's B-side, 'Xvive'. It's an impressive first foray for Maria Newyen's new imprint Scious; let's hope future 12"s stay just as weird.

Review: Berlin by way of Los Angeles' Avenue 66 recently served up the latest album by enigmatic artist Moire who has appeared on esteemed imprints such as Hypercolour, Ghostly International, Werk Discs and Ninja Tune. The Circuitry LP was a diverse affair, and the array of remixers on this EP reflects its style of eclecticism. Whether it's the legendary Herbert's deep and melancholic dub of 'Circuit 15' or Tolouse Low Trax's woozy rendition of 'Circuit 07' on the first side, to the typically dusty twilight vibes of Lowtec's remix of 'Circuit 04' and Dial co-head Lawrence's understated late-night perspective of 'Circuit 18' - it certainly does make a complementary addendum to the album.

Review: An exciting blend of minimal tech house and experimental techno only equalled by an emotionally gripping acoustic version on the second side. The track immediately grabs attention with its intricate layers of moody synths and pulsating percussion. Steffen Linck's evocative lyrics float effortlessly over the atmospheric soundscape, balancing vulnerability and groove. It's a track that speaks to deep emotions while maintaining a steady, hypnotic rhythm. On the Side-B, Monolink presents "Mesmerized (Acoustic)', a beautiful reworking that strips away the electronic elements to expose the raw heart of the song. This acoustic version is a more intimate experience, where soulful vocals and acoustic instrumentation take center stage. The result is a tender, thought-provoking reinterpretation that breathes new life into the track, further enhancing its emotional depth. This release shows off Monolink's ability to blend electronic precision with organic emotion.

Review: Batu's Timedance is about as consistently fresh and forward-thinking as electronic labels get right now. Bristol's Daisy Moon is next up to carry the baton and is fresh off a standout house cut on Peach Discs in June. Here she opens with the precise drum rhythms and glitchy percussion of 'Eclipse' while 'Shadow Of Silhouettes' is a shimming, shape shifting arrangement with daubs of synth, frenzied lines, chopped-up vocals and plenty more all vying for your attention. 'The Abyssal Zone' then brings some dubby broken beats to the fore and 'Meadow Rap' flips the script entirely with some lush downtempo.

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: 'Lords Of Miami' is a fantastic name for this new one from Domesticated, a label run by one of Berlin's best electro aficionados, Robyrt Hecht. Sshadess, The Coomers, Girlcop and Emscho Shoshe each contribute original cuts ranging from the janky to the smooth, with choice bits like 'Carbonara' remaining unpretentious and not-too-produced, yet also peppery on the glitches. Shoshe's 'Give Up' lends an experiment to vocal booty house too, adding an extra creep factor to the genre with freq-scooping phasers on the sample.

Review: Following up great efforts by the likes of Van Bonn & Luis Baltes, Unknown and Shadow-Area, here is the debut LP from Hamburg's Achim Maerz on Berlin-based Freund der Familie. Relief features a wide selections of moods and grooves; from the cavernous and glacial deep house of 'Black Hole', the contemplative ambient journey of 'Dream', plus there's more deepness of the emotive variety offered up on 'Changing Weather', the understated late night mood of 'Memories' and the mesmerising closer 'On The Way' awash in dazzling layers of rich synth tones in the vein of classic Chicago sounds. Mastering by Sven Weisemann.

Review: Michael Mayer's fourth album, The Floor Is Lava, arrives after an eight-year wait, following his collaborative & album on !K7. Mayer's solo output has always been selective, with each release feeling like a significant moment. His previous albums, Mantasy and Touch, were similarly spaced out, but with good reason. As the head of Kompakt and Imara, a globe-trotting DJ, and a highly sought-after remixer, Mayer wears many hats, and it's no surprise his own productions are more sporadic. Yet, this also ensures quality. His name on a record sleeve signals music that's both forward-thinking and rooted in the past, deftly balancing the demands of the dancefloor and more reflective listening. The Floor Is Lava showcases Mayer's talent for threading together genres and eras while keeping a distinct sense of purpose. Whether it's designed for late-night clubs or a contemplative listen at home, Mayer's sound continues to evolve, pushing boundaries while remaining firmly anchored in his established style. As always, his knack for combining the exploratory with the functional shines through, and this latest offering is no exception.