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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: Juno Reactor are without much doubt, the most successful and important Goa and psy-trance related artist of the 90s. From 1993 to 2000, the band was in lock and step with the growing sound and scene across the world within trance music. This five-disc boxset gathers all five albums they made plus material they did for movies like Matrix and Mortal Kombat Annihilation. Composer, producer, musician and performer Ben Watkins is an essential innovator of modern electronic music. Over the course of nearly 30 years, Watkins has created a unique driving fusion of electronica, orchestral and global music executed on an epic & symphonic scale. Every trance and 90s electronic music fan should have this retrospect from this ground breaking act.

Review: .For the 100th volume in their ongoing 'Mood Series' of albums, Greyscale has chosen to offer up something very special: a double disc set of previously unreleased "secret weapons" produced by label main man Grad_U. It's an undeniably brilliant collection all told, with the long-serving artist offering up a rich selection of deep techno and dub techno treats in his distinctive style. Highlights are plentiful and include (but are in no way limited to), the house-infused, hypnotic techno positivity of 'Run Out', the intergalactic dub techno pulse of 'Compound', the acid-flecked intensity of 'Seismic Investigations', the immersive rhythmic sound soup of 'Whispering Rails', and the melodic flutter of 'Orbital Outpost'.

Review: Interferon's classic 1994 album 'Seance Room Music' gets a special deluxe edition reissue here which includes all the original tunes as well as a bonus disc which has three extra and previously unreleased tracks, all of which have been newly remastered. Raf name Kiyoshi Hazemoto, this was Interferon's only release under this alias and one that explored a blisteringly futurist take on techno and a wide range of serene synth scapes. Cuts like 'Dawn of Rainland' are best examples of this with subtle vocals worked in for extra soul.

Review: Initially released earlier in the year to great acclaim, and here presented in a Japanese edition that boasts additional cut 'Dampha', Overmono's debut full-length Good Lies looks set to be one of the electronic albums of 2023. Consciously building to their brilliant breakthrough single 'U Kno' and beyond, the album offers a masterful exploration of their hard to pigeonhole trademark sound - a sub-heavy distillation of UK bass rhythms and references (two-step garage, dubstep, 140 and polyrhythmic techno can all be heard within the Russell brothers' potent sonic stew) fused with pitched-up r&b vocals, picturesque electronics, rave-igniting riffs and dirt-encrusted aural textures. A genuine triumph that will only enhance their already sky-high reputation.

Review: It wasn't so long ago we were writing about the joys of BVDUB's Fumika Fades, a new double pack in February that sunk us deep into moving ambient soundscapes. Now the Bay Area dub techno titan Brock van Wey is back once again with yet another album - he dropped plenty of them last year too so is clearly in a mad creative patch. Slowly Shifting Lakes comes in multiple formats, this one being a double CD. The ambient here is coarse and textured, fizzing synths stretching out over skittish rhythmic frameworks before sinking into calmer waters on cuts like the escapist 'Searching For Glowing Shores.' Another triumphant album for sure.

Review: Russian Ilya Bitekhtin, also known as Illocanblo, has already impressed with previous outings but now steps up his game with new album, Liminal Rhythms. He is a party promoter behind Saint-Petersburg's IDM Nights who also runs the Nenormalizm netlabel as well as producing so really knows what it takes to get the floor going and draws on that here. The record has six tracks of signature electro and seventeen remixes from artists all around the world. 'Nebulonix' kicks off with freewheeling synth lines and cosmic colours, 'Solitude' is a restless and richly layered track of percolating electro-funk and 'Ethereal' is a celestial party starter. The likes of Ambidextrous, Bistro Boy, Cyance and Energy N-13 then step up with the remixes to make this a global release.

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.

Review: Harald Uunk's take on techno may be angular, electronic and refreshingly avant-garde, but his creative inspirations are far more natural. Unseen, his expansive debut album, was not - as some may assume given its sonics and largely dystopian feel - influenced by the urban environments in which he lives and works, but rather his frequent adventures in the countryside. That's not immediately evident, but if you close your eyes and listen intently, the various off-kilter polyrhythms, distorted electronic motifs, ghostly electronics and dubbed-out textures soon conjure mind images of stumbling around dark woods and fields in moonlight and pre-dawn drives down deserted rural roads in the Netherlands' most isolated spots. More importantly, it's a hugely enjoyable and evocative beast, even if it does tend towards the dark, intense and unsettling.