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Review: Sideshow began in 2003 with the release of "Sound Of Today" on Simple, evolving into a deep broken percussive sound with lashings of melody. Sideshow's grown alongside the success of his more established alter ego Fink (Ninja Tune), a well respected producer, remixer and DJ. The sound was born of a need to play pure dance music, initially created as the antithesis to the sample heavy, turntablist Ninja culture but drawing on the experience. "Sound of Today" was followed in 2004 with "The Slide" EP, a delicious and twisted slice of deep percussive house, featuring the first remix by the Canadian tech lord Mathew Jonson. After Fink co-produced the Will Saul album "Space Between" for Simple and put his dub-blues Fink album to bed, Sideshow got back in the studio and comes straight back at us with his latest genre bending business, a fitting debut on Will Saul's new experimental label Aus. Over the coming months he's touring live with his band as Fink, creating new material for Matt Jonson's Wagon Repair and for Aus.

Review: The members of My My met and became friends through common interests in music, but it wasn't until they ended up as neighbours in Berlin's Mitte, that a lifestyle of committed partying, cake baking and long studio sessions lead to their debut release on Playhouse "Klatta" in early 2005. It was the result of previously downtempo producer Lee Jones (Hefner) working and partying with local Berlin DJ's Nick Höppner and Carsten Kleeman, who are residents respectively at Panorama Bar and Watergate. Following up their recent fantastic 12" on Circus Company "Butterflies & Zebras" is beautifully tripped-out expansive ambient house, summer after-hours here we come! Recorded live with Nick and Lee layering FX over the organic percussion as the mix develops. An acid infused bassline is slowly opened out as layers of lush strings and shimmering pads are teased into the arrangement. On Moneybowl the boys show the more jacking side of My My. Taught and lean with a groove that keeps on evolving, while weird and wonderful bleeps and clicks bounce around the mix. For the remix, John Dahlbäck twists the pads from the original and adds his own synth stabs. Then pulls out a bassline and arrangement that jumps straight onto the dancefloor.

Review: Fantastic EP, with an incredible spine shivering, deep, hallucinogenic Lee Jones (My My) mix.

Review: Essex bred Lee Jones lived in London until 2002, where he was producing and remixing as the downtempo/nu-jazz artist Hefner. After following his heart to Berlin, he was inspired by the music and clubs to move into a new production style. For the past two years he has been recording and performing live as part of the successful Playhouse signed trio My My. For "There Comes A Time" Lee's blissed out chords drift effortlessly around a squelchy melody while chunky drums bounce in and out of the mix. The tension builds as the groove evolves and then a more sublime melody is introduced into the arrangement that'll have you reaching for those lasers. It's one of those tracks that just oozes its own unique character. On the flip side Prins Thomas gets to work. The master of the delay unit creates a build-up of feedback and meshes this into an ominously throbbing bassline that swells with intensity throughout the arrangement to create tension and impact. When combined with Lee's euphoric chords it creates real excitement.

Review: Sideshow is the alter ego of Fink - the well-respected work-o-holic producer, musician, remixer and live performer on Ninja Tune. "African Cheri" starts out straight and robotic until the disco loops and percussive samples are cut into the mix. The live bass is accompanied by Sideshow's typical dub flashes before things are taken to the next level with a squelchy electronic variation of the bassline that is, well, quite simply filthy.

Review: Mike Monday and Will Saul remix Scuba: Scuba remixes Mike Monday and Will Saul. Sounds fair right? Well that's what these diplomatic chaps have done, with Saul and Monday's Sequence 1 EP following a Scuba 12" which dropped last week. The title track sees Saul and Monday strip things back to a Roland 909, Korg Kaos Pad, and Dave Smith Polyevolver. In the true traditions of house music, they recorded their mix live, with Mike on the 909 and keys and Will on filters and effects. "Small Moments" swaps raw analogue jack for a melodic keys and shuffling percussion, offering a nice contrast. Flip over for Scuba's remix, which treads the line between house, dubstep and techno in the way that only Paul Rose can.

Review: Everything Ramadanman touches at the moment becomes gold. Put simply, the (still very) young man is a genius, constantly pulling from various genres to keep his work new and exciting yet somehow retains a large amount of consistency and class. This release sees the Leeds based producer return to Aus imprint for a second outing, on a collaborative effort with Applepips head honcho Appleblim. "Void 23" is pitch black, 4am techno that carries your senses on a journey down a deep dark tunnel of thumping basslines pressured against snares that collapse on top the galloping percussion. It's also heavily full of vibes and clocks in at a little over nine minutes. This alone is reason enough to purchase the 12" but Aus deliver a real treat in securing the services of Carl Craig to deliver a flipside edit that indulges in just the right amount of tweakage. The little changes Craig implements in the rhythm structure succeed in embellishing the overall feel with more urgency. The release marks another A+ plus outing from Aus Music as well as Ramadanman and Appleblim, which effortlessly joins the canon of music that will be played in clubs for many years to come.

Review: It's safe to say Midland is now one of Aus Music's marquee artists. This Duster EP provides the Englishman with his seventh release on Will Saul's label since 2010 with that killer split 12" with Ramadanman (now Pearson Sound). The title track features a Caribou-like bassline and synths which swell and vary in size over a skipping house beat. "Replex" is rougher and frenetically percussive while still remaining melodic, while "Pitch Drift" is the deepest production on the record that some how, in amongst the trippiness of it all, stays tropical.

Review: Huxley's recent LP Blurred saw the rising UK producer offer a more comprehensive display of his production range, dipping more thoroughly into his influences for an eight track set that covered UK garage, deep house, bumping techno and pitched down rave. This latter avenue was best explored on "Give 2 U" the collaboration with vocalist Femme, whose stirring tones were a perfect match for Huxley's winding production. It's got single material written all over it, so kudos to Will Saul for this 12" which features a darker house Club Rerub from Huxley himself as well as a brukkish remix from the Saul man and Bristolian Komon. Huxley fans will also appreciate the presence of a new production from the man that closes out matters.

Review: Under the name Bwana, Nathan Micay made something of a splash back in 2012 with a pair of 12"s for the Somethinksounds label that wedged him snugly amidst the bass music cognoscenti of the time; think pitched up RnB samples, fluttering melodies and unpredictable juke style rhythms. Evidently keen not to get pigeon-holed, the Toronto-based artist chose to withdraw from the spotlight and spend some time honing his productions and this first offering of 2014 suggests this was a most productive spell indeed. Issued by Will Saul's tireless Aus imprint, the Flute Dreams EP finds Bwana embracing straight up house forms and doing it very well indeed - the bassline that consumes the title track is destined to be heard in clubs for years to come. SMD make their Aus bow on a fine reinterpretation of the "Flute Dreams" which feels like the track has been pulled inside out and Bwana further covers himself in glory with the startlingly bright, broken house of "Aomame".

Review: Bwana aka Nathan Micay has already seen a release on Will Saul's Aus Music and his fluid, freeform house music returns with "Tengo", a melodic progressive house nugget that's both spacey and fit for any dancefloor. The same goes for "Drop Mechanism", an ethereal house stepper, while "Due West" goes in a lot harder with a vicious bundle of Power House drums punching and kicking their way across its chords. Effective floor bombs.

Review: Breach first came to our attention back three or four years ago during the great 'post-dubstep' and 'future bass' boom, an explosion of ideas and musical freedom which has seen many of its artists go on to achieve great things across different corners of the electronic music sphere. Breach has kept true to his roots, the only major difference now being that his grooves are considerably more locked in a house tempo and not as loose or rattling. However, "Dim Sum" is still a track with a great personality, where a rigid percussion bundle makes up for the lack of a kick drum in its arrangement. On the flipside, "Anna Love" is the housier of the lot, a gorgeously full groove full of tribalism and soul, while "Purple" boasts the sort of UK street house that you wouldn't find elsewhere. In the game. Pure gold.

Review: Offering up the cuts from his last release for Aus to go under the knife, Midland gets the remix treatment with two distinct results. First up Grain gets into a rolling tribal state of mind with a version of "Trace" honed for peak time dancefloor consumption. The drums fall in a circular pattern while insistent snippets from the track accentuate the functional abandon of this decidedly driving piece. Leon Vynehall meanwhile strings "For (Yacht) Club Only" up with a bugging backbone and heartfelt stabs that fall into a modern meltdown of future-minded house music for body-jerking physical responses.

Review: Next year sees Aus boss Will Saul unveil the Closer project, a conduit for his long promised second album that's set for release on K7! and features contributions from the likes of Paul 'Tikiman' St. Hillaire, Scuba, Appleblim, Ewan Pearson and October. The final Aus release of 2012 has Saul collaborating with October, aka TANSTAAFL boss Julian Smith for the first time on "Light Sleeper" which sees Saul on synths and Smith on drums and makes for a pitch perfect distillation of their partnership with the track bristling in a manner similar to an insomnia riddled STL. Kompakt boss Michael Mayer is on remix duty, deftly balancing Saul and Smith's original sonic aspirations with his own creative urges - the results incorporating several broken rhythmic movements without sacrificing the warmth of the original production.

Review: Inside Out is a brand new series from Aus Music label head Will Saul. It invites DJs and producers to blur the boundaries between traditional artist albums and mix compilations. The concept encourages them to showcase their own music, or the music of those in their own individual circles. Depending on who is curating, it will take different forms. The idea stems from Saul's own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. There's a strong Detroit techno aesthetic throughout his inaugural release for the series: from the emotive hi-tech soul of his own collaboration with Komon entitled "Positive", Amsterdam legend Gerd had no problem channeling similarly timeless retro vibes either, as heard on the funky techno-soul of "Echoes". They save the best for last on the flip, with the legendary Floorplan's riveting rendition of Primitive Trust's "Little Love" - perfect to get that 3AM style strobe-lit tunnel vision in effect.

Review: As the recent label compilation proved, Will Saul's Aus Music are dealing in strictly heavy hitters these days and they don't come much bigger than Paul Woolford do they? Heaven & Earth looks to be Woolford's latest concept-laden 12", arriving a few months after the Spesh Request man laid down the Mother & Child single for Hotflush. Split into two parts, "Heaven & Earth" finds Woolford channelling a rich brand of tech-laden house music and one that is adorned with swooping orchestral flourishes amidst the thick swathes of bass. The more pared-back part II just nudges it for us.

Review: Leeds legend Paul Woolford is an unstoppable force. Taking a break from creating retro flavoured warehouse bombs under his well received Special Request alias and returning under his birth name for some clean cut tech house for Will Saul's always reliable imprint. It's all in the name of the cross on here, if you catch our drift. Religious overtones aside: "Holy Ghost" is deeply emotive groove, carried by a strong arpeggiated bass and haunting strings; seductive and functional. On the flip, "Father" goes for some electro driven, early '90's, UK IDM vibes (which we found particularly charming) until "Son" closes the EP out in true style on this beatless ambient acid journey.

Review:  Well we never really saw this one coming: Quantic is a world music specialist and talented instrumentalist best known for his Cuban, Latin and Afro fusions of everything from jazz to soul. But here the man born Will Holland debuts on Will Saul's long running and suitably eclectic Aus Music with fie tracks of club ready house, but all done in his own inimitably musical style. There are steel drums on 'Let The Sparks Fly' for a tropical feel, 'Heaven Or Hell' has irresistible old school chords and well swung drums and 'Night Jaguars' is a lively bossa rhythm. 'OM617' is a fat, dubby wanderer and 'Shake Your Demons' closes down with chunky, deep and late night house vibe.

Review: Former Panorama Bar resident and local Berlin fixture Cassy Britton presents her first full length release since giving up her residency and leaving Europe's clubbing capital for the sunny shores of Los Angeles. The Donna LP features some dusty classic house sounds of the deeper spectrum, as heard previously on her eponymous imprint, Uzuri or Perlon sporadically over the last 10 years and her great vocals which veer from spoken word, haunting/monotone to high pitched diva moves are a constant throughout. Highlights for us were the uplifting deep disco of "All I Do", the soulful deep funk on her cover of Prince's "Strange Relationship" or the emotive yet tough techno of "Move".