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Review: Orlando Voorn is always spoken of as one of the key links between European and Detroit techno. Here though, in collaboration with Han Litz, he sinks into his house sound on open 'What I Love' which is utterly gorgeous with its Roy Ayres flutes, jazzy keys and warm, soulful drums. The Soulfood Mix ups the jazziness and makes the drums more raw, then 'Composers' brings more warming house vibes that are heartfelt and musical. A Downbeat mix reduces the original perfectly for a more cosy, cuddly feel.

Review: Orlando Voorn's back catalogue is up there with many of his arguably more trendy American peers. This sixth outing from the "Classics" division of Nocturbulous Records backs that up by offering some such gems. 'Tronics' and 'Hydrotech' have been remastered and ew repressed for the first time here while 'Alien Interferences' and 'Need For Speed' have never before made it to wax. All four showcase the Dutchman'sstylish blend of supple techno drums and soulful machine sounds. 'Need For Speed' in particular is a fantastically warped stepper with myriad trippy sonics raining down the face of the broken groove.

Review: This new EP grey and black splattered 12" from Orlando Voorn features a real glut of goodness - there is the stone-cold classic 'Flash' under his Fix alias which is big, bouncy techno with wigged-out synths and plenty of playful energy. There is also the brand new title track 'Pulsor' which is a nice heady and deep cut with silky synth ripples and rubbery drums intertwining with one another perfectly. The two remixes included have never been available on vinyl before. The first is Orlando's chunky and funky techno rework of 'Boucle To The Beat', one of Toddy Terry's most recognisable early tracks. Then last of all is the colourful house sound of Ken Ishii's remix of 'Dope Computer'. It's a filter-heavy and loopy jam with prickly acid that will pump any party.

Review: A special, limited edition purple vinyl version of the new Pulsor EP from Orlando Voorn, with the undipsuted classic 'Flash' - utilising his Fix alias - up front, big, bouncy techno with wigged-out synths and plenty of playful energy. There's also the brand new title track 'Pulsor' a heady deep cut and two remixes making their debuts on vinyl here, namely Orlando's chunky techno reworking of 'Boucle To The Beat', one of Toddy Terry's most recognisable early tracks, and then the colourful house sound of Ken Ishii's remix of 'Dope Computer'.

Review: Dutch titan Orlando Voorn was always a European with a musical sound that linked us to Detroit and Chicago. As well as house and techno he can also do searing electro bangers too as this Outerworld EP on Trust shows. It's potent tackle for peak times, with 'Shockwave' a collision of drums and percussion and wild spraying synths, then 'Outerworld' taking on a ghetto flex with more kinetic drum funk. 'Reverse Psychology' then slows it down to a more atmospheric and spaced-out vibe and 'Space Trap' is an experimental broken beat that is the best track on the EP.

Review: Orlando Voorn has always been said to provide a link between the techno scenes in Detroit and Europe. His sound certainly blends the best of both worlds and this new one on Kompack is another fresh offering packed with personality. 'No Cellphones' has flashy synths and clap-laden drums to get your hips swinging, 'Raise The Bar' layers up pixelated melodic rain that sounds like a beautiful fax dial tone and 'Tech IQ' takes the same almost 8-bit melody synth and has it freewheel over mid-tempo drums. 'Swingtech' closes with some nice string elegance and deep beats.

Review: Prolific and long-serving Dutchman Orlando Voorn made his belated Heist Recordings debut last year with a collection made up of previously unheard old and new cuts. For this sequel, he's decided to present entirely fresh material, all of which was recorded last year. He begins with the colourful, deep and dreamy dancefloor wooziness of 'Soundsystem', where his eyes-closed, subtly soulful vocals catch the ear, before getting a bit cheeky on the piano-sporting, disco-tinged house stomp of 'High' (a tribute to the joys of jazz cigarette smoking, fact fans). Over on side B, 'Day By Day' is a warming, loose-limbed chunk of classic-sounding, U.S style deep house, while '909 (feat Emil and Boo Williams - OV Remix)' is a sweat-soaked, energy-packed jack-track.

Review: Orlando Voorn and Blake Baxter deliver a powerhouse collaboration that channels the raw vitality of house music's formative years. Driven by a relentless bassline and crisp, propulsive rhythms, the production is both punchy and atmospheric, striking a balance between grit and groove. Baxter's unmistakable vocal style adds depth and urgency, weaving seamlessly into Voorn's dynamic arrangement. There's an immediacy to the track that feels alive, capturing the spirit of dancefloor culture while paying homage to the genre's roots. This is a meeting of two titans, where history and innovation collide with thrilling results.

Review: Eclectic technoizer Basic Bastard locks arms with Detroiter Orlando Voorn, their dual sonic output being the new 'Drama' EP. The three-tracker is nothing short of a sonic adventure, spanning acid, to dub, to uncategorisable entrainments. Bastard's original 'Drama' nails the art of the acid loop, a tricky tactic that is much less masterable than one might think. Voorn remixes the track my miring its elements in a cruddy ambience, while also greedily occupying the entire B-side with the urban-hellish jazz-noise-house cut 'Survival'.

Review: Orlando Voorn is a long-time techno favourite who joins the dots between the Mid-Western US template and Europe's own take on the genre. He's got an arsenal of classics but also knows how to kick out brilliant new jams. Syncrophone is where he lands now with his 'Boom Boom' EP which is a great embodiment of what he does best. The title cut is cantering than drums and hammering hits infused with some unsettling synth stabs. 'Zen' brings a little funk to the drum programming and 'Delirium' zones you out with some more heady pads before 'Knock' nails you to the floor once more with wonky acid and some freaky breakdowns.