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Review: It's a rare thing for electronic music producers to make impressive returns - think of recent re-appearances by Orbital or Future Sound of London - but this is different. Like Luke Slater's decision to relaunch Planetary Assault Systems, Juan Atkins's comeback as Model 500 serves as a reminder that when it comes to making music from another dimension, the Detroit native has few peers. The key difference between Atkins's return and Slater's latest vision for PAS is that Control doesn't sound that different to classic Model 500 material. Granted, the production sounds punchier and clearer, but this has perhaps more to do with the production tools than the song craft. Yet at the same time, Atkins is ploughing a furrow that he first explored almost 30 years ago, and it still sounds relevant and vital. Maybe contemporary music's lack of a distinctive edge means that the approach that Atkins developed long ago still resonates, but irrespective of the explanation, "Control" connects on a number of levels, be it thanks to the wobbly bassline, deadpan robo vocal or combination of dreamy synths with niggling bleeps and blips. The same sense of adventure, that feeling that music could transport the listener to another place, still applies. "The Messenger" is a typical Detroit techno groove, its shuffling, jerky rhythm playing host to a small universe worth of effects, tones and riffs, accentuated by sharper modern-day production techniques. It goes to show that Atkins's magic touch is a powerful as ever.

Review: A hitherto unknown name arrives on the newest LIES White Label series in the shape of Slugbug, and what this record lacks in readily available information it makes up for in gut-punching impact. Those freaks out there that cherish the Charles Manier album or elicit delight when Beau Wanzer is at his most floor-focused will most definitely find something to enjoy across the four Slugbug cuts here. Dovetailing nicely with recent LIES tackle from Tzu Sing, the label states Slugbug channels a music spirit wedged somewhere between "new wave tinged beat tracks, off-kilter electro and psycho-house". Opening cut "Control" is a fine DJ tool exercise in beating down a dancefloor with one long nasty corroded loop and some deviant hits, and is a highlight along with the marauding jack nightmare of "Prodental Beat".

Review: For the west coast techno scene of America, Developer and Truncate are a one stop shop for club techno. Where Developer's production goes large, Truncate's focus is primitive techno minimalism - for David Flores, his peak time productions come packaged as Audio Injection. Truncate fans will notice the similarities of "Control V1" to "Concentrate" (recently commissioned for Pangaea's fabric live 73) from 2011. Truncate manages to strip back "Control V2" even more, which puts greater emphasis on the ketamine drugged computer vocal, while "Reflex V1" and "Reflex V2" are also incarnations of themselves; one minimal, the other more so.

Review: After years sound tracking the dancehalls of Bristol via their considered selections as DJs, brotherly pair The Kelly Twins add label bosses to their CVs with the establishment of Happy Skull. The label kick offs in illustrious fashion with a collaborative release between two of Bristol's most interesting producers, Kowton and Hyetal. Adopting the name Systems Of Desire, the pair worked on a track together, before going off to produce their own individual versions entitled "Control" and "Consumption"; the results are exactly the intriguing cross between Kowton's raw, crunchy, grime influenced techno and Hyetal's glistening synth work you would imagine.