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Review: Mr Dominik Eulberg is maybe one of the oddest characters in techno and house nowadays - but also one of the nicest and most down-to-earth producers. He combines sound and art research with solid and straight productions, which attracts fans from all fields such as techno, house and even trance. "Bionik" is a huge album, out on Cocoon, that should make every dance music fan smile.

Review: The album is an appetizing and complete menu of all Citizen Kain's virtues shown until now: an energy that arrives to you inexorably, excellent melodies and treatment of the voices, and a hi-tech production with an amalgam of industrial sounds and impossible textures. DJ Hell, after seeing them live, was so astonished that it proposed a collaboration.

Review: Sven Vath presents us with Sounds Of The Eleventh Season, a bumper double CD mix celebrating another summer on the White Isle. The opening CD is initially a deep, dark and dubby affair, taking us through Chateau Flight's remix of Mano Le Tough, DJ Koze's impeccably produced "Sbooty" and the tropical techno of Speedy J (remixed by Edit Select). Sven, the old rascal, takes a turn for the rave cave towards the end with MMM's immense "Nous Sommes MMM" wild stuff indeed! The second CD opens with the raw analogue shuffle of DJ Qu's "The Law", before proceeding into a more housey, vocal led workout. The inclusion of Kyle Hall's superlative remix of the Hundred In The Hands "Dressed In Dresden" is a particularly pleasing moment. Life in the old dog yet? Silly question.

Review: Sven Vath's long-standing Cocoon brand begins its second decade with this 12-track label collection. Cheekily titled Compilation K, it proudly boasts a deeper-than-average collection of Euro-centric tech-house grooves that should appeal to afterhours the world over. With Dinky, Henrik Schwartz, Argy and Sascha Dive involved alongside an coterie of lesser-known names, there's plenty to investigate. While highlights are perhaps not as plentiful as you'd expect, the standard is reliably high. Certainly, deep house minded DJs will find plenty of floor-friendly fodder, not least David August's comforting opener and Minilogue's delicious "Blessed", while techno heads will flock to Argy's retro-futurist gem "The Thrust".

Review: This second album from the former trio (now permanently joined by fourth member The Mole) sees Cobblestone Jazz refine the process and sounds from their debut 23 Seconds. Though rooted in minimal techno, the group take a much more free and improvisational approach to recording, something that bears fruit almost immediately on Sun Child which combines the slick Rhodes piano sound of Bob James with paper thin claps and live cymbals to give the tune a vitality seldom heard on rigid minimal.


Mr Polite is a great lesson on how to use vocoders to devastating effect - repeating a mantra-like refrain as instruments join in around it. Children on the other hand is sparse and edgy with shakers and hi-hats to the fore. Stepping away from techno rhythms briefly, Midnight Sun slows the pace right down and creates a dreamy soundscape around some distant and seriously warped vocals - a combination that's as beautiful as it is intriguing. Though Cobblestone Jazz's approach is different to most, don't let the methodology fool you - it's still a minimal dance record through and through, albeit with some brilliantly fresh ideas and sounds.

Review: Renowned producer, remixer, DJ and record label owner Carl Craig is one of the few artists who can truly claim to have shaped the sound of
modern electronic music. Making music since the tender age of 17, Craig has created everything from ambient soundscapes to jazz
during the past 20 years, but it's his work in dance music that is at his core. 'Sessions' is a long overdue album that brings together a personal
selection of Carl's incredible back catalogue, from his early work under the aliases Paperclip People and 69 to worldwide hits like 'Throw'
(recently covered live by LCD Soundsystem) and groundbreaking tracks like 'Bug in the Bassbin'. Alongside the classics, the two discs also showcase why Craig is still such a powerful force in music today with a diverse range of remixes for the likes of XPress 2, Theo Parrish and many others. For his rework for Junior Boys'. 'Like A Child' he was just nominated for a Grammy.
The selection also includes previously unreleased tracks, alternative versions of his own productions, as well as some exclusive unreleased
remixes. 'Sessions' reminds us of how exciting and unique Carl Craig's productions and remixes are and why he remains at the top of his game,
a retrospective of one of the world’s most influential and groundbreaking figures in electronic music.

Review: For their 86th release the mighty, mighty Perlon bring on board Margaret Dygas with a self titled not EP not album. Working her way through sparse and cosmic minimal spirals as we expect, "Missing You Less" shows her delicate edge with light piano keys and muffled strings giving a feminine touch to her otherwise driving style. "Soon" reverts to Dygas as we know her, with hitting drum patterns and reverbed tech goodness from the start. "Country Way Of Life" on the second disk is meandering and spooky, with indecipherable vocals popping up intermittently as a heavy kick and syncopated drums rise from below. "Ocbinh's Groove" meanwhile is dark and moody, as pads swoop and samples howl. Diverse, quality, pure minimal techno... Perlon live on.

Review: It's hard to believe that Sven Vath's empire has been in existence for 11 years, but what's easier to comprehend is the label's unerring knack of releasing killer club techno. This compilation gives some of Vath's favourite artists - like Roman Flugel and Steve Rachmad - as well as newbies like Patrick Kunkel, who also provides a DJ mix, a chance to rework the catalogue. From Visionquest's murky but driving take on Dinky's "Acid in My Fridge" through the abrasive, jacking Flugel remix of Martin Buttrich's "Hunter", Carlo Lio's tribal take on Dubfire vs Huntemann's "Diablo" and the fist-pumping, big room techno of Paul Ritch's interpretation of 2000 & One's "Tropical Melons", there can be no doubt about this compilation's dance floor credentials.

Review: Markus Nikolai and Zip's peerless Perlon imprint gives a commanding lesson in music - the raw, minimal and dubby kind - via this superlative 28 track mix double CD of unreleased material, the fifth instalment of their Superlongevity series. The names themselves are enough to have us salivating - Baby Ford, Shackleton, Sammy Dee, Cassy, Portable Riccy Villalobos all appear - as well as the first Daniel Bell track since 2003, which is utterly amazing if we do say so ourselves. And it's all mixed together in superb fashion, with a neat line drawn between the artists and styles that make up the label's towering roster.

Review: Given his prolific nature, it's perhaps surprising to find that 5 is actually Medhi Djebali's debut album. The title was apparently chosen as both a nod to the fifth anniversary of his self-titled label, and as a reflection of the number of months it took the Parisian to record it. As you might expect, it's an enjoyable collection of largely club-friendly cuts, with Djebali offering nods towards Robsoul style tech-house ("Nineties Playground", "Mister Bastard"), spacey ambience ("Heartgroover", "The Other Night"), acid (the funk-fuelled "D.B Cooper", "God's Dreams"), and warm, early morning deep house ("Seven Blessings", "Ideal Dawn"). To round things off, he also includes a head-nodding chunk of dreamy instrumental hip-hop (John Dimas collaboration "Suzaku").

Review: This CD provides both, an ultimate guide to the sound of Basic Channel and a compilation of the more electronic or ambientish part of the works released on the vinyl 12"s so far. The collection is an outstanding release within the wide field of listening electronics. Included are three tracks which are available only on this release.

Review: Four years have passed since John Digweed's last four-disc mix outing, with the pandemic scuppering the veteran DJ's plans to record an extended set in an exotic location. Instead, what we get is a lightly edited recording of Diggers' most recent gig at Fabric in London, from the autumn of 2021. If you love Digweed's trademark DJ sound - smooth, long blends, melodic builds, dreamy chords and layered melodies alenty - then there's plenty to savour across this epic mix album. While there are a few techno tracks squeezed in on disc four, for the most part Digweed effortlessly joins the dots between tech-house, deep house, progressive house and the kind of melody-rich, atmospheric electronic fare that has always been his sonic calling card.

Review: Greyscale use the end of 2022 to look back at what they have achieved so far. And that's a lot as this third volume of their already much-loved Mood Series proves once more. This one focuses on releases #41 to #60 and features the label owner grad_u making the selections. Top ones they are too, with Conor OG's deliciously deep 'Disembarking' setting a nice dub mood before there are excursions into frosty minimalism from Francisco Aguado, sub-aquatic bass bliss from Stoll hypnotic horizontal rhythms from BT Gate X-138, amongst many more standouts. 2022 was a fine year, then, and we're already looking forward to what 2023 has in store for us.

Review: "Get Lost" is a deep and tripped-out fusion of mighty master cuts, techno toys and special songs that have been carefully excavated from the electronic underground. The compilation offers up new angles and fresh experiences for both the ears and the feet.

Review: Founded in 2005 by Anja Schneider the young label Mobilee is proud to present it's first Double CD-Compilation: Mobilee Back To Back featuring the labels biggest moments and introducing the labels artists for the first time on a CD mixed by Anja Schneider!

Review: Second time around for the late, great Rai Harakami's second album, Opa*q, gets the reissue treatment. It's long been tricky to source outside of Japan and for whatever reason has not been issued in any form since it first surfaced in 2009. It's an attractive and at times off-kilter blend, with Harakimi mixing and matching ambient textures and enveloping electronic soundscapes with jazzy keyboard solos, quirky grooves, madcap post-techno acid lines, IDM and break-core style beats, and the kind of squelchy and tactile synth motifs more often associated with boogie albums made in the 1980s. It feels pleasingly lo-fi, too, as if a writer of 1980s and early 90s video-game soundtracks had made an electronica album. This edition also includes fine remixes by Ian O'Brien and Max 404, plus two hard-to-find bonus cuts.