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Review: Whoever is behind these STEDIT drops is striking upon pure gold, bringing a legitimately underground techno crunch to the pop edit practice. Having previously tackled the likes of Brandy & Monica and Ultra Nate, now two of the biggest pop divas of all time are getting some low down and dirty reworkings which tread the fine balance between earworm familiarity and the heads down moodiness of a locked-in dancefloor. 'Slow' becomes a slippery acid abstraction peppered with all kinds of sonic freakery, while 'Justify My Love' becomes a brooding, steadfast workout tipped towards the minimal crowd.

Review: James Pennington remains one of the cult veterans of Detroit's techno legacy, right there at the beginning and wholly revered by those across his work. Even if he still exists a little on the fringes compared to some of his peers, releases like this remind you how respected he is, and for good reason. 'Winds Of Fear' just hits that balance between the true, deep-rooted, classic kind of techno and the otherness which makes the best of the genre memorable instead of forgettable. The trombone-like synth line forming the melodic bedrock of the track is just not something you hear often in techno, but it sounds powerful especially on top of the rough, urgent slap of the Suburban Knight drums. As if the original wasn't enough, we get Robert Hood going in on the track with a tight but funky as hell edit and a dusty beatdown version from Eddie Fowlkes. Legends, assemble!

Review: Sunshine Sound is the NYC imprint that became recognised as the birthplace of the edit, through a series of genre defining releases. It is back with another golden oldie, re-spliced with paramount expertise and respect by the one and only Francois K. The multi-layered and utterly hypnotic "I Feel Love Medley" (Francois K edit) is a long sought after rework of the well known Donna Summer classic. Over on the flip, from the depths of the label's archive is another Donna Summer classic - the unique 'Faster & Faster Medley' edited by Canada's Jacques Lessard.

Review: Take a journey to the dawn of DJ culture with Sunshine Sound, the NY imprint that became recognised as the 'Birthplace of the Edit'. The Francois K and Walter Gibbons resplices here of 'Happy Song' is their first vinyl release, known as the original DJ tool (and the original bonus beat) which has been the source of countless samples and imitations since it first appeared in 1977. Kevorkian's version on the A side is the most commonly known one, with its upbeat infectious rhythm, while Gibbons' take over on the flip has more stomp and was very much streamlined for his legendary DJ sets at Galaxy 21.

Review: Fresh from his mind-melting album Terraform on Yuku late last year, Tenebre returns to his heavier breakbeat roots with this killer dancefloor dispatch on WNCL. Going in hard on the breaks both 'Half Stab' and 'Full Stab' go all-in with no compromises. Both armed with big distorted, bruising basslines, the former is characterised by dubby echoes and shattering breaks while the latter eases up on so many of the bouncing bass hits lets the breaks do more of the talking.

Review: Get unstuck with these two delicious refixes from Unglued's debut 2021 album Interplanetary Radio as two of the most highly respected beat carvers apply their scalpels to one of Hospital's most exciting new-generation stars. The ravey 'Total XTC' is perfect fodder for Exit's Fixate as he winds up the 4x4s and laces it with his own special hardcore essence. The super sweet soul of 'Way Back When' is also a perfect fit for its remixer as Halogenix brings a whole new hazy shade to the dreamy vibes. Far out.

Review: Velour's much loved album on Wolf Music gets the full remix treatment here. Four of the cuts get reworked by label associates old and new and it is mainstay Hulk Hodn who goes first. His take on 'Tom's Garage' is a noodling chords and late night seduction. South London's Footshooter then brings some big broken beat work and swirling synths to a floor facing jam, and Frits Wentink follows up his big recent Dekmantel release with a high energy stomper that bubbles with dreamy vocal charm. Last of all is super cool and jazz heavy 20/100 remix of 'Luminate' that is space age, Detroit tinged, sunset house.

Review: What happens if you take a big vocal sample and drop it over a rinsing, old school jungle break beat? The first tune here, 'Opus III', that's what. It's a high energy affair that might well raise some eye brows given the vocal, but you can't help but admire it's all out joyousness and air of celebration. Flip it over and you'll find something just as divisive - another clattering jungle tune filled with kinetic kicks and flurries of snare, and once more a well-known vocal from Whamdo Project's 'Kings Of The Castle.'

Review: Emotional Rescue looks to the newly rebuilt but still very much culturally separate East and West Germany of the 1980s with this new EP. It's dub reggae through a post-punk and alternative lens by Hanover artists Felix Holter aka Dubvisionist. All these cuts have a very live, improvised feel because father way he worked from rhythms first and jammed endlessly before adding the vocals. They are taken from their 1987 release 10 Tracks Of Reggae & Dub Music which was inspired by the great Adrian Sherwood label On-U Sound label, and you can hear that clearly.

Review: Vladislav Delay can manipulate sound like few others. Where he gets his ideas from is anyone's guess but we're presented with a laid more of them here in the first of five EPs in a series. This one finds the man born Sasu Ripatti deconstructing his soundscapes into whirring machines, metallic textures and chopped dup dubs. It is sound art as much as club music but will still work on the more adventurous dance floors out there. 'Three-Room Problem' in particular is an eerie and unsettling piece but one that leaves you wanting more.

Review: With roots in electro, hip-hop, house and techno, you can never quite be sure what Orlando Voorn will serve up next. On this top-notch ten-inch single - his first for NOUN - he's in full on techno mode, puffing out his chest and striding confidently towards peak-time dancefloors. The legendary Dutch producer first offers up 'Infinite Voyage', a slamming, warehouse-ready workout that wraps buzzing, mutant electronic lead lines and star-fall around stomping beats and booming bass. On 'Straight UP' he opts for darker, bolder, stabbing bass, alien-sounding bleeps, jazzy synth stabs, heady aural textures and another tough-as-teak drum track.

Review: In 1976, seven Cabo Verdean musicians going by the name Voz Di Sanicolau gathered in a small recording studio in Rotterdam where they laid down an album of fearsome coladeira songs inspired by the music of their home island of Sao Nicolau.

The album took only a few days to record, which may explain the unexpected urgency that fires each track. Treble-soaked electric guitar lines snake back and forth through percussion-and-cavaquinho driven rhythms rooted in the sound of the islands established by the previous generation of Cabo Verdean emigres; subtle keyboards wash through the background, and the vocals, traded between Joana Do Rosario and To-Ze, alternately push the music forward and soar above it. The resulting album is both deeply felt and fiercely executed, and in its grooves one hears the sound of some of the finest Cabo Verdean musicians of their era locked in complete unity of purpose.

It should have been the beginning of something extraordinary; but the pressures of making ends meet forced the musicians back to their day jobs, and Voz Di Sanicolau vanished as quickly as they had appeared, leaving their lone album, Fundo de Mare Palinha, as sole proof of their existence. Forty-four years later the album sounds as fresh as it did the day it was recorded. It is unknown if dutch sound engineer Frans Rolland, who oversaw the recordings, knew he was helping to make history: during these sessions, Joana Do Rosario, whose majestic vocals were crucial to the sound of Voz Di Sanicolau, became the first Cabo Verdean woman ever to appear on a long playing record.

Review: Woof! Hyperdub bring together two of the most recognisable and enigmatic artists of recent times on this 10", as Zomby and Burial square down ahead of the former's new album for the label. Zomby's Ultra LP is undoubtedly one of this year's most anticipated albums and "Sweetz" suggests it may be a very moody affair indeed. Whilst rooted in UK dance, Zomby and Burial do look elsewhere for inspiration too. Just under seven minutes long, "Sweetz" veers through various sub-heavy soundscapes with intermittent rhythmic patters and a distinctive looped vocal sample whose pitch changes with dramatic effect.