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Review: For those who dig what was once called progressive house, the Balance series from Australian label EQ has always been a "must check". Most contributors tend to push the boat out, resulting in deeply melodic and otherworldly sets that blur the boundaries between true mix and full-on production. That's certainly the case here, as Spanish DJ/producer (and part-time TV sound designer) Henry Saiz carefully crafts two discs of prog-not-prog blissfulness. Saiz's sound is based on the fusion of IDM electronica and shuffling, early morning house, and that's the overriding theme here - giving the mix an enjoyably fluid sound and style.

Review: Specter remains a steadfast pillar among the select artists on Theo Parrish's esteemed Sound Signature label. His latest album, Brutus, reaffirms the trust placed in him, delivering a distinct blend of house sounds. In this CD version, Specter masterfully fuses synthetic and organic elements, echoing the signature style of Parrish. Much like Parrish's own compositions, the house sounds on Brutus exhibit a harmonious blend of weathered, rustic tones and vibrant, futuristic visions. Specter injects profound meaning into his melodies, and the drums, whether subtle and elusive or bold and confrontational, consistently captivate, locking listeners into the rich tapestry of his grooves.

Review: Since releasing his debut album 12 years ago, Solomun has become one of the world's most popular tech-house artists - a DJ/producer with a wonky but accessible style tailor-made for big rooms and debauched afterparties. His change in status is reflected on belated second album Nobody is Not Loved, which appears via major label MBG packed with guest stars including Jamie Foxx, Zoot Woman and Planningtorock. Wisely given his DJ roots, the Hamburg-based producer has made the set a non-stop mix that gently increases in intensity before mellowing out again right at the end. Highlights include the minimal-meets-deep soulpop opener 'Ocean', the Isolee-influenced melodic shuffle of 'The Center Will Hold', the tech-house-goes-electroclash sleaze of 'Tuk Tuk' and the moody, new wave-inspired darkness of 'Kreatur der Nacht'.

Review: Since the early 90s, Ministry of Sound's yearly Annual compilations have done an excellent job in chronicling crossover dance hits, mainstream dancefloor killers, and popular underground workouts that make their way into the wider public consciousness. This year's edition (confusingly dated 2024, despite being released in late 2023) continues the successful franchise via two unmixed discs of radio-friendly dance favourites. It naturally ticks all of the usual boxes, contrasting breakout big room hits by underground heroes (Young Marco, Adelphi Music Factory, Ewan McVicar) and sizable tracks from established dance heavyweights (Chemical Brothers, Sub Focus and Dimensions, Rudimental, MK), with gigantic EDM works (Calvin Harris & Ellie Goulding) and the odd out and out dance-pop hit (Kylie Minogue).

Review: The Future Sound of London keep their fans busy with a steady dispatch of music via the fsoldigital.com label, but it feels like there's a sense of occasion around this new album. Rituals E7.001 is purportedly the first part in a trilogy, and it already highly prized by the devoted followers of Brian Dougans and Garry Cobain's music. It's not hard to hear why on listening to the gorgeous strains of 'Hopiate', which harks back to some of the duo's most iconic music (we'll let you guess which one we mean). FSOL have always had a particular touch in their exploration of electronica, ambient and outernational sounds, and it sounds rich with inspiration on this new, expansive album.

Review: By his own admission, Daniel Avery's previous albums have been inspired by escapism and a desire to avoid focusing on the growing darkness of the world outside his studio. On Ultra Truth, he's flipped the switch, "directly looking into the darkness, not running away". That doesn't mean that he's left the dancefloor; far from it, in fact. While some of the aural textures, chords and melodies tend towards the melancholic, moody and overwhelming, they still feature club-ready rhythms or beats that tend towards the bold. Basically, it's heavy and dense, but sonically attractive enough to work outside of nightclub environments, with the contributions of various friends and contemporaries (HAAi, Kelly Lee Owens and Sherelle included) only enhancing the album. For proof, check out ultra-deep D&B roller 'Higher', the sparse and spooky electro shuffle of 'Chaos Energy', and the intergalactic breakbeat hustle of 'Wall of Energy'.

Review: It may have taken a while - his massive debut single 'Hyph Mngo' was released 12 years ago - but Joy Orbison has finally got round to recording his debut album. It's a highly personal affair, peppered with speech snippets from various family members (including his mum, dad, sister, cousins and famous uncle, Ray Keith). It's a narrative device that works well, providing a unifying thread throughout a woozy, musically eclectic concoction that sees the now veteran UK producer give his distinct spin on ambient, slow house, two-step garage, deep house, post-dubstep beats, dubbed-out soundscapes, British bass music, experimental electronica, cutting-edge deep D&B and much more besides. It's perhaps not the all-out assault on the dancefloor some may have expected, but it is a genuinely brilliant and entertaining album.

Review: Functional Designs is the newest album from Detroit-based Deepchord, who has long been a mainstay of Scottish techno label Soma. It is full of late-night sounds and the artist's signature designs and is a fine return to the label after five years since his last album. Each track pays out like a nighttime walk through his urban local with field recordings, holographic synth tones, cosmic sounds and the hiss of electric wires all colouring the grooves. This rich, lush techno with an electroacoustic aesthetic that makes it glisten a bit brighter. Add in heavy bass and beats and you have a modern classic.