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Review: Tusken Raiders is of course Michael Paradinas, the man behind Planet Mu as well as many of his own killer productions. Famously, this alias had to be put to sleep after George Lucas's lawyers found out about it after one of his releases on Clear back in the day, so he renamed himself Rude Ass Tinker - an anagram the original alias. But now it is back out of retirement for this collection on Further Electronix of all the recent EPs he has released. The tracks are built on brilliantly squelchy electro funk, cosmic techno, brain dance melodies abound and the whole thing comes from a world controlled by AI and robots, but never loses sight of the dancefloor.

Review: The duo of Therese Lanz and Casey Rogers, better known as Mares Of Thrace, deal in a ferocious, bruising blend of sludge-laden crusty noise-rock and hardcore punk. Their latest EP/mini-LP/opus, 'The Exile', limps a barefoot trudge over broken glass with violent, cacophonous results. Take the thunderous malevolence of 'Mortal Quarry' or the doomgazing of catastrophic closer, 'The Thread That Will Unravel You', as punishing examples of the unkempt vehement potential seeping its way out of the true north (that's what the Canadians like to call it).

Review: An overlooked spiritual classic in two parts, Yamash'ta & The Horizon were a one-off project consisting of a hat-trick of musicians seeking to perfect their craft. In 1971, Hideakira Sakurai, Masahiko Satoh, Stomu Yamash'ta and Takehisa Kosugi gathered in Japan to perform an invite-only concert to a handful of friends. Deep and distinctive electric shamishen becomes a sonic centrepiece over the course; handled by Sakurai, the sound is haunting, like a lone voice amidst a sea of percussive nymphs. Sloshing koto, percussion and eruptions of awe from the crowd all dominate the moments of downtime; a timeless snapshot of Fluxus Japan.

Review: Mint Condition has so far proved adept at licensing and reissuing high-grade fare from the 1990s that many people may have missed out on first time around. This single from Dylan Beale, one of two he released as Eze-Ozo back in 1991, is undoubtedly essential: a two-track bleep & breaks excursion that strikes a perfect balance between the alien, sci-fi sounding weight of purist bleep and the rolling energy of early breakbeat hardcore. 'How To Stay Alive' is shuffling, crunchy and sub-heavy, with nods to trippy US deep house as well as early Warp releases, while 'Kick The Break In' comes from the same sonic space as the contemporaneous Original Clique and Ubik releases.

Review: They may have been known for producing crossover hits way back in the early 90s, but Arrested Development have never stopped producing gold. The politically charged, socially conscious crew are a well-oiled machine at this point in time, and you need only listen to a snatch of new album For the FKN Love to understand that. As ever it's fronted by Speech and produced by Configa, but this time around they've invited a plethora of guests from legends like Big Daddy Kane, The Sugarhill Gang, Monie Love and Fatman Scoop through to emergent talent like Twan Mack, Dell-P, Lish and Ke'Andra. It's resulted in a vital statement for the rude health of message-laden hip-hop in 2022.

Notes: This is an arrangement of the pattern "KOKAWANU," a favorite of Kabuki actor Danjuro Ichikawa VII, with analog records. It was expressed in a refreshing and cool "dark blue and dark blue" colour.

This hand towel is compact enough to carry in your pocket without being bulky, and has excellent water absorbency and quick-drying properties.

It can be used as a handkerchief to wipe sweat, or wrapped around your head or neck to protect you from the sun. It is also useful for festivals and live performances.

It is made by craftsmen using the Chusen dyeing method, which has been used since the Meiji era.

Organizing bleaching, gluing/stapling, dyeing, washing, drying in the sun... These tenugui are painstakingly made by craftsmen who bring their best skills together under the complete division of labour.

Artisans have been using the Chusen dyeing technique since the Meiji era.

Notes: New Union Tenugui with a miniature obi like a record.

Music Tenugui in collaboration with Tenugui specialty store Kamawanu.

Using the traditional technique of "shukuzome," which has been used since the Meiji era (1868-1912), the design is dyed in the image of a record shelf.

The "obi," which resembles a domestic vinyl record, also features a record pattern inspired by the Same-Komon pattern.

It is a satisfying item for yourself or as a gift.

Notes: New Union Tenugui with a miniature obi like a record.

Music Tenugui in collaboration with Tenugui specialty store Kamawanu.

Using the traditional technique of "shukuzome," which has been used since the Meiji era (1868-1912), the design is dyed in the image of a record shelf.

The "obi," which resembles a domestic vinyl record, also features a record pattern inspired by the Same-Komon pattern.

It is a satisfying item for yourself or as a gift.

Review: Ah Liam Gallagher - a man who never seems to grow old or fully out of touch. Well, depending on your opinions on absolutely everything, of course. The Manchester icon and former-Oasis enfant terrible has spoken from his heart on a range of subjects, from "dance music can fuck right off" to "I am not an entertainer", and understandably his off-the-cuff honesty resonates with both the die hard disciples and sceptics alike. Simply put, nobody can accuse him of not wearing heart on sleeve.

In many ways, that approach guides his latest solo offering, C'Mon You Know. Back in February 2022, three months before this record's release, he told NME "I'm quite happy with the formula... I look cool. I sound good. I talk from the heart." If that's not evidence we're not ranting rubbish we don't know what is. As for the record's sound, think timeless British indie that has one foot in a 1990s glory era of British rock 'n' roll, and another in li-fi contemporary noise, all delivered with operatic drama.

Review: Despite what you might assume, O Yuki Conjugate are actually an English duo. Hailing from the country's renowned hinterland somewhere between ambient and industrial, the pair - better known as Roger Horberry and Andrew Hulme - first started the project in 1982, a time in the nation's history that was particularly fertile for sonic experiments of the synthesised kind.

A Tension of Opposites is proof they have lost little of their imagination and creative spark, even decades later. Born in the first year of the pandemic, 2020, both artists worked in isolation and therefore both had different ideas about how a sonic response to the most batshit crazy situation in living memory should sound. The result, then, is a lush, intoxicating, and thoughtful journey through tonalities, resonance, and deep refrains that offers two sides of the same terrifying, traumatic, and life-changing story.

Review: What is the difference between here and there?
What are the differences between countries and races?
between men and women?
children and adults?
you and me?

We are supposed to be the same person, but we are all different.
We look different, we were born and raised in different environments.
Our personalities are also different.
These differences create interest and new discoveries,
but they also create discrimination and prejudice,
which leads to division.
In recent years, this situation seems to have become more pronounced.

"You and I are different.
But sometimes I might be the same as you."

In this uncertain world,
this is what I wanted to express in this music.
--K Nogami

Review: The big beat era was responsible for many musical crimes, but there remains a handful of tracks from that period that still sound fantastic 15 years on. The Prodigy's 'Beathe', one of the headiest, heaviest and most incendiary moments from their pioneering rock-rave fusion album Fat of the Land, is amongst that group. This reissued CD single places the edited single version of the track alongside three killer bonus cuts: a riotous, raucous, all-action live version of their anti-Criminal Justice Bill collaboration with Pop Will Eat Itself, 'Their Law'; a suitably gnarled and excitable version of classic single 'Poison' recorded live at the Tourhout & Werchter Festival '96, and 'The Trick', a bouncy and chunky, hip-hop tempo B-side that doffs a cap to Death in Vegas and Meat Beat Manifesto.

Review: Detach Recordings is proud to present their third EP, 'In Order To See' by Nekyia. Following releases on re:st, UVB-76 and Voidance Records, the Italian producer further explores his introspective sound, joining the dots between experimental psychedelia, dark ambient and post-drum&bass. Opening with the heavy, drone-driven 'Meta' and 'Leave Your Flesh Behind', the pace soon quickens with 'Breaches', a driving 170bpm collaboration with Books (re:st, Detuned Transmissions). The pressure increases on the B-side with a fierce remix by Sam KDC (Auxiliary, Samurai, Sublunar). The EP closes with 'Form Constants', a 2017 dub unavailable until now.

Review: The latest one on Orson sees Daniel Savio teaming up with Mesak for some lean and mean electro gear. Stockholm's Savio has gifted us reams of flexible, idiosyncratic machine jams over the years, while Finland's Mesak has been on a rampant run of late across labels like Klakson. On this four tracker we get to run the gamut from pumped up peak time pulser 'Tungt Vatten' to downtempo braindancer 'Surt Regn', all powered by a smorgasbord of blipping analogue-isms and keen studio instincts. If you're serious about your machine music, you're absolutely going to dig this one.

Review: Smegma emerged out of LA's creative underground around 1973 and since then they've forged an uncompromising path well outside the usual strictures of generic definitions and the music industry as a whole. Through sheer conviction they received appropriate nods, from releasing on Mute to being tipped on the coveted Nurse With Wound list. Drawing on jazz as one of their core influences, their first officially released LP Glamour Girl 1944 landed in 1979 and set the tone for a band shirking convention every step of the way. Unavailable on wax since its original release, you can only imagine what second hand copies were shifting for. True fans rejoice, this landmark record is now back within reach.

Review: This is the first time this one has ever been re-issued on vinyl, so do not sleep. It is a document of Los Angeles Free Music Society (aka LAFMS)'s second performance at the recital hall of the Brand Library in Glendale in 1976. The band was formed by teenage members in the mid-1970s and mixed up free improvisation with modular synthesizers as well as sampling, musique concrete techniques, noise, avant-rock and plenty more in what were said to be rather anarchic recording sessions. This manic experimental record captures some of that bizarre leftfield magic.

Review: Original Gravity Records has another super serving up early reggae sounds lined-up here. This new 7" from Max Iss & The Minions (which is the latest alias for the ever prolific label boss Neil Anderson, complete with a session toaster in tow) offers two boss rhythms. The sound harks back to the reggae of the late sixties and is punctuated with U-Roy-style shout-outs. Opener 'Lord Cumiana' is a big and brassy groover designed to light up the dance and on the flipside is 'High Roller', with more rolling brass and a lush organ melody to get you hypnotised.

Review: Tucka Da Hunta Man - Concrete Jungle 1995 remains a much loved hip hop long player by those who know. But did you know a load of material recorded in the same seasons has mostly lay about unreleased? Well now it gets its day in the sun as Smoke On Records present all exclusive unreleased material on this limited new album. The beats hit hard, with crunchy snares and rhymes that are just as tough. Though old school by definition, these beats still sound fresh today, and the lyrical wordplay still resonates.

Review: Cryovac Recordings is allowed to exist by artists and craftsmen that take up the cause and come together to share their skillset. A Cryovac artist is a master of their own style. They are heros that represent the best of Detroit's spirit.

Review: Willie Tee is one of those New Orleans artists whose records are hard to find and expensive. He is the perfect subject of special record store day reissues and that's what we get here from the Gatur label. 'Concentrate' is some high-class mellow magic from 1980. The backside tune is another doozy with more New Orleans mellow funk bringing to mind the quality of Roy Ayers., It all makes for a 7" you simply cannot find anywhere online for any money whatsoever and thus a crucial one to snap up before it's gone again.

Review: The Castles In Space label has been quietly supporting esoteric synth works for the past seven or so years out of their home base in Biggleswade. Amongst the artists they've previously released are Antoni Maiovvi and CHXFX, and now they're presenting a new venture by the name of Twilight Sequence. So far, so synthy. The music on this single-sided one-track sureshot fits the vibe as well, dealing in expertly sculpted melodic patterns interwoven in a manner which sounds like it might well come from a modular set up, such is the undulating movement inherent in the sound and the symbiotic nature of the different elements.

Review: The Record Store Day drops are coming in thick and fast now and for hip-hop fans this is a heavy one. Neither of these tunes have ever been on a 45 rpm together before. They are classics from the legendary Philly crew with hard breaks and headier bars on 'My Part Of Town' set over a jostling bassline and tough hits. On the flip is 'Mountain's World' which is a deeper and more vibes-joint with less in your face energy and a smarter wordplay as well as some super scratch-work.

Review: Just Mustard's second album is her first for Partisan Records. It is a coherent but widescreen exploration across 10 tracks that all add up to a great whole. Her magic vocals, scything guitars and brooding rock drums all make for intense and scintillant listening. Tracks like 'Seed' roll up and down on lumpy drums with gauzy guitar textures, while there is a more ethereal sound to 'Early' which floats up amongst the stars. 'In Shade' has a catchy post punk rhythm and 'Sore' is dense and caustic shoegaze style rock that drags you with it into a world of questions.

Review: The soundtrack to David Cronenberg's 1983 masterpiece, the Canadian science fiction horror film VIDEODROME has been fully, painstakingly restored from original master tapes over many years. Four decades after first release it remains a classic of the genre that Mondo, Backlot Music and Howe Records now serve up for the first time ever on vinyl. It was produced by Howard Shore and Alan Frey and comes on original artwork by Rich Kelly, with great liner notes by Annette DiGiovanni and pressed on 180 g vinyl. It is a futuristic and cinematic work that has more than stood the test of time.

Review: ***B-STOCK: Slight surface marks ***


If you're a fan of dub techno and densely layered, spaced-out ambient soundscapes, you should already be familiar with Mr Cloudy (real name Sergey Barkalov) and his Space of Variants label. Whether you are or not, we'd recommend checking out this fine label sampler, which was compiled by Barkalov and offers a neat introduction to the imprint's distinctively hazy and hypnotic sound. Highlights include the decidedly intergalactic dub techno shuffle of Flying Cobra's "In Harmony With The Whole", the early morning club hypnotism of "Mira" by Ozim Lee, the fluid ambient dub/dub techno fusion of Heavenchord's "Echo 2", the tough but intoxicating antics of Mr Gradient (the pumping but dubbed-out "Isolated Space") and the bass guitar sporting ambient dub niceness of 'Dub raw Sky" by Tuman Sound.

Review: UK legend MJ Cole is best known for his vital contribution to drum & bass and then garage over the years, but on his first new album for 17 summers he takes a different turn. Here he dare on the classical music on which he was brought up, and shows off the vast array of studio skills he has picked up over the years, all in order to lay down some evocative early hours ambiance, classical compositions and sunrise sounds on his studio's piano. It's a serene listen, a grown up sound that provides you with plenty of moments of contemplation and is finished with some lush strings for a truly luxuriant sound.

Review: It seems that Record Store Day 2022 isn't done yet as we get this limited 12" just for the occasion from Sun's Signature. It is an EP of five tracks by vocalist Elizabeth Fraser of Cocteau Twins and percussionist Damon Reece who has worked with Spiritualized, Massive Attack and Lupine Howl. The music is an experimental fusion of folk, synth and downtempo and is a fine offering for a debut release. After so long in the works it's a delight to finally have a finished product from this forward looking pair.

Review: Baltimore-based DJ Oji has been in the house music game for a long time now, starting out with his own Poji label alongside DJ Pope around 1994 and steady trucking since then with his warm, approachable brand of deep house. Known for his collaborations with strong female vocalists, on this latest release for Foundation Music he teams up with Tracy Hamlin for 'Cranes In The Sky', a sentimental piece steeped in soulful composition. Pope steps up for a remix which strips the tune back without losing the message, while on the flip Joe Goddard brings his brand of bumpin', off-kilter floor-filling magic to bear, and then Star One drops the 'KDA Meltdown Dub' in a tougher, techier style which has plenty of fun dicing up Hamlin's vocal for a fresh and fruity version.

Review: Marcellus Pittman and James Curd go head-to-head on this new collaborative split, hearing two tracks from the Chi-troit musicians and their ability to fuse each other's approaches to minimal house. 'Shafty Riptide' has in it the sonic equivalent of lapping waves; 'chained chords inhale and exhale against the beats, while farty arps bring up the bottom end. 'Corners' takes on a jazzier and folktronickier mood, with odd timings urging on a much more subdued soundscape.

Review: Some lucky folk managed to bag a copy of this when it was released as part of the Screamadelica 30th Anniversary 12" Singles Box. Suffice to say, many didn't. It's also probably a given to point out the British and global music scenes are still reeling from the untimely and sudden passing of Andrew Weatherall, a studio mastermind and club DJ icon who managed to influence everyone from ambient and techno heads to indie kids, classical fans and heads in just about any other sonic avenue you care to mention. Arguably, though, his most beloved work was around the Screamadelica era, carving out a landmark crossover album from Primal Scream's original material, making stars out of everyone involved and timeless, decade-spanning tracks from singles like 'Come Together' and 'Loaded'. 'Shine Like the Stars' brought that album to a close in spectacular, trippy, emotive style, and has never left our hearts since.

Review: Fresh from the release of two tip-top twelves on Handy Records and Wolf Music, Malik Kassim brings his trademark Retromigration sound to the freshly minted LYAM label. Typically warm, woozy, bass-heavy and with plenty of intricate musical details - think Ron Trent, with a dash of the Burrell Brothers and the Detroit deep house swing of Andres - all four cuts are superb examples of the Dutch producer's approach to dancefloor dynamics. Highlights include the laidback, club-ready bump of 'Heat it Up', where undulating acid lines and synth-sax catch the ear; the shuffling, broken house sparkle of 'You Want That' (a genuinely sumptuous late-night delight smothered in spacey synth solos); and the mid-tempo, jazz-funk style title track, where loose-limbed live instrumentation and emotive solos come to the fore.

Review: The next release on Cyberdome is by Terra Form. Born and raised in the culturally rich city of Malmo, the Swedish producer has previously released on Deeply Cultured, Distant Hawaii, Mood Of Era, Traxx Underground and parent label 10 PILLS MATE, spanning atmospheric techno, breaks and electro - the latter being a strong presence on Entering The Void. The old school robot beats of 'Ultratronic' kicks off the A side, followed by the gritty dystopian bass attack of 'Ghettotech' but unlike the name may suggest - booty bass this is not! The rise of the machines continues on the B side with the dystopian slammer 'Exiting The Void'.

Notes: Create a high-end recording studio anywhere with Revelator io44. Whether you want to connect a professional XLR microphone, a guitar, a DJ mixer, or your gaming headset, Revelator io44 has all the inputs and outputs you need to record... even a built-in mixer that lets you blend audio from multiple applications. Processing is available on every analog input, so you'll sound smooth and polished in your performances and recordings.

Guitarists, singers, DJs, and everyone else: you'll sound great, regardless of if you're tracking a record or performing live online.

25 years of studio-grade design experience is inside Revelator io44. Your XLR microphones will sound their best thanks to the PreSonus XMAX-L mic preamp with plenty of gain for your professional microphone to capture your voice smoothly, naturally, and distortion-free - and the onboard processing will make your voice stand out. Whether you're recording a vocal or chatting with your followers during a livestream, you'll be heard loud and clear.

Revelator io44 features an easy-to-use mixer that lets you blend audio from up to three different applications at once. Add backing tracks, Skype calls, and even gameplay quickly and easily without taxing your computer. An automatic output limiter prevents your stream from distorting. Whether you're on macOS or Windows, you can create custom mixes of your inputs and your applications and monitor it all at near-zero latency so you can stream and record simultaneously!

Features

Ultra-compact, mobile bus-powered USB-Cr compatible audio interface for recording, streaming, podcasting and more
96 kHz / 24-bit operation for pristine audio recording
1 digitally controlled, high-headroom, low noise XMAX-L mic preamp for professional results
1 Instrument input (via combo) for guitars and basses
1 TRS ?" Stereo Line input for DJ mixers and more
Stand-alone functionality lets you take your sound with you
?Balanced Main Left / Right with independent level control and mute
1 TRRS 1/4"""" stereo Headset connection (mic in, stereo out)
Integrated mixer lets you blend audio from up to three applications at once
Powerful onboard StudioLive processing lets you polish your sound (or completely transform it) with reverb, compression, EQ, and fantastic Voice FX - all without taxing your CPU
Professionally crafted Presets make you sound like a pro with a single click. You can also create your own custom presets to share, save, or produce on the go
Studio One Artist recording software and Studio Magic software bundle included

Review: 2019's Wallop was the last album we heard from !!! so fans will be delighted to check out this new full length, Let It Be Blue. The first single from it, 'Storm Around the World,' features Sink Ya Teeth's Maria Uzor and the band explained it was "originally an acid workout about parents who leave on tour," became much more. Expect the album to be a diverse affair packed with dance floor moments but also plenty of more spare sounds that allow the world play to shine through. Fittingly, this one - the band's ninth album - comes pressed on nice blue wax.

Review: Finally! Grove's exceptional debut EP from last year sees the vinyl light of day. Sitting somewhere between breaks, drum & bass, hip-hop and IDM, their powerful delivery and black, queer perspective fires up an incredible cauldron that's visceral, physical and loaded with positivity. Highlights range from the subverted jungle head-twister 'F-I-U' to the bulldozer techno stepper 'Intent' with all kinds of flavours in between including a collab with Griz-O, a remix from Ur Worst Nightmare and exceptional life truths like 'Fuck Ur Landlord' and 'Ur Boyfriend's Whack'. Get sticky.

Review: Some sonic communities grow even in isolation, in the lonely obsessive moments in the studio as time melts away. Deep inside the Detroit Underground nests a Berlin underground, chasing those resonant shared sounds. DU Berlin draws together some of that love felt through music in the German capital. It's not the wild city of reunification or *Berlin Calling* or tourist-style movies or the easyJet set. This is the side of the city that endlessly romances machines for the sheer joy of it, as The Allegorist titles her track, "until dawn." And with some big names and emerging, ranging from mainstays to veteran agitators, the Berlin DU crew have telegraphed each other through productions and mutual inspiration. The results vibrate and rumble with sympathetic frequencies, but never limited to grayscale or dithered palettes.

Review: A whole series of XTC classics are being reissued right now and the latest is Mummer. It has been freshly cut at Loud Mastering and pressed up onto an eye waveringly good 200g vinyl. It was the sixth record from the British rock outfit and was released in 1983. It was the last record to feature the drumming of Terry Chambers and though it didn't have much album chart success it did spawn singles 'Great Fire', 'Wonderland' and 'Love on a Farmboy's Wages', which managed to hit No. 50 on the UK singles chart.

Review: Andy Partridge, of legendary Swindon post-punk players XTC, here delivers a brand new solo outing for his own simian shelter (and by extension, label), Ape House. By way of four noisy, grinding, discordant yet emotive sonic 'trading cards', Partridge sings of love and its winding ups and downs, nailing the janky and rocky emotions felt therein. Lo-fi yet sprawling in its proggy indie jazzy ambition, we're forced to agree that Love Is, indeed, The Future.

Review: Zeta Reticula is a Solvenian producer who you might also know as Umek. Away from his big room techno sounds under this alias he crafts much more nuanced and essential electro sounds as evidenced on this fierce five tracker pressed to limed clear vinyl. 'Wakefulness' is all jacked up drums and interplanetary acid and the beats bang just as hard on 'Analgesic Pathways' while 'Cholinergic Projections' is the most white knuckle ride of the lot with whip-snapping snares and hellish synths bringing the terror. 'Reticulate Speech' and 'Abducting Humans' close down with more melodic electro sounds.

Review: Rubbing shoulders with DJ Amir and 180 Proof Records, BBE Music present this celebratory compilation, fawning over the Strata Records' best and brightest releasees. 'Strata Records - The Sound of Detroit - Reimagined by Jazzanova' hears DJ Amir and Jazzanova shed the work of a Detroit jazz great into something much newer and fresher, through incredible nu-jazz retakes on classic Motor City standards from the likes of Lyman Woodard and Malauwi.

Review: For the latest edition of their essential Wamano A to Z compilation series - the third to date - DJ Yoshiwza Dynamite JP and Chintam have decided to focus on "Japanese light mellow funk, disco and boogie" tracks recorded between 1978 and '88. Like its' predecessors, the eight-track set is heavy on obscurities and little-known cuts, as well as bona fide killer cuts. There's much to savour throughout, from the intergalactic, slap-bass propelled boogie brilliance of Jadoes' 'Friday Night (Extended Mix)' and the laidback funk bliss of Yumi Sato's 'Ame', to the smooth jazz-funk lusciousness of Hitomi Tohyama's 'Rainy Driver' and the Latin-infused, Teena Marie style electrofunk brilliance of Mizuki Koyami's 'Kare Niwa Kanawanai'.

Review: Idan Hana steps up to Dirt Crew once more with a second full length EP that includes a remix from the one and only Chicago deep house pioneer. Let's start with that one - his take on 'Lo Fi Hi' is a textbook raw house sound but embellished with majestic chords and a gridding bassline that elevates mind, body and soul. The other three originals from Idan are quality, too, with a jazzy laced opener, the ramshackle cosmic house of 'Galaxy One Two Three' and old school hip hop influenced boom bap drums of 'Far From The Sun.'

Review: Mathieu Charbonneau and Pietro Amato are no strangers. The pair have worked together in various guises and forms for many years, first meeting in the instrumental group Torngat, an then turning their attention to the Ferriswheel project and indie band The Luyas. Amato is still a member of the latter, and some will also know his name from Bell Orchestre and, on the odd occasion, some outfit called Arcade Fire.

Cast all those references aside, though, because Synth Works Vol. 2, as the title suggests, opts to map out electronic courses through modular constellations, the sound of glittering stars passing by a pristine space station, the noise of humans looking out into the great black expanse and wondering what their place is, and where everyone else has gone. A work of minimal beauty.

Review: This sizzling new 7" from Super Disco Edits serves up Dayton's 'Sky's The Limit' which is a red hot slice of previously unissued 1982 soul.Hall of fun famers Dayton were a well established and popular group with a lush sound that was couched in soul but with funky grooves, boogie basslines and hints of disco shimmer and shine. This gorgeous single has all that and more including a big, buttery vocal. It is an epic, guaranteed floor filler which on the flip side has 'Sky's The Limit (long version)' for extra devastation.

Review: ***B-STOCK: Record sleeve damaged, dents and creases to the corner of the outer sleeve, otherwise in excellent condition***

Review: Cult favourite Nick the Record is one of the deepest digging DJs out there. When he steps up with is own productions they are just as well informed and classy. This new one with Jamie Read is another case in point. 'I Appreciate' has an effortlessly timeless vibe - 80s production, 70s disco and proto-house styles all inform it, with the chords hanging in the air next to the steam voxels while the bass does its job down low. On the flip is 'I Appreciate' (Disco edit) which is more leggy and energetic in the way it builds.

Review: 18437 is only four releases deep but is already a revered outlet renowned for its quality output thanks to, in part, a couple of great EPs by the late great Soulphiction. This time out it is Nico Lahs using his NLXLB moniker who takes control with deep, dubby techno for the backroom or late-night hours. The blissful 'Dazed Dreams' is a pad-laced early evening warm-up. 'Dirty Vision' is a little more textured with background drums trying to hurry as lush freeform chords do a slow dance in the foreground. 'Synthetic Wars' gets all squelchy, with hefty, splintered, and wooden drums and hits tumbling in off-grid patterns.

Review: Hand stamped limited press and as always vinyl only, Hut Vibez Records returns, Jase is back with a dreamy trip of lush minimal electronic on the new 12'', The full A side Metanoia is a stomper for anytime of the day or night and a joy on the ears with big kicks, catchy riffs & a neat bass.....B sides, Law of Nature takes a minimal 90s approach with a tight groove to keep you well locked in, and second track of the B side Nubigavant is a bassy, heavy breaks track, high above the clouds, with bass, dirty breaks and trippy vocals perfect for late mornings, the music speaks for itself & will put you in a good place.

Review: A warm welcome back to self-starter Will Long, whose self-released deep house epics - all of which initially appear on vinyl on frustratingly limited pressings - put him on a par with such ocean-deep audio explorers and dancefloor misfits as DJ Sprinkles and Larry Heard. As the title suggests, Long Trax EPs & Singles Volume 2 offers up tracks the producer previously released on wax. It's full to bursting with tactile, dreamy, atmospheric and ethereal club cuts, with highlights including the melancholic yearning of 'Been Lucky', the spoken word-sporting late-night headiness of 'That Dream', the revivalist ambient house immersion of 'The Only Difference' and the organ-sporting sunrise warmth of 'Pay It No Mind'.

Review: A collaboration between Bristol's Shall Not Fade and London label/clothing line Handy here titled Keep It In The Family. SNF tapped 9th House & Berlin-based Italian Ruff Stuff for some wicked techno tracks, and it's all about the latter doing his best Aril Brikha impression on 'Still Dancing'. Representing Handy we have Bobby Cazanova serving up some bass-heavy sci-fi fantasies on the electro number 'Big Eden' and a collab between Arthur Dudley and Retromigration who serve up some smoky, late night deep house on 'Moodyknight'.