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Review: Thomas Xu tends not to release much music, but when he does it tends to be musically rich, rhythmically complex and very, very good. That's certainly the case with "Places In Time", his second EP on Steady Flight following an inspired 2017 debut on Theo Parrish's Sound Signature imprint. There's much to set the pulse racing across the EP, from the heavily analogue, synthesizer-powered, intergalactic jazz-funk looseness of "Easin", and the slipped 21st century instrumental space-jazz of "Tired A Being Tired (What Are We Here For)", to the densely layered, piano-driven ambience of "Promise 2", and the hard-to-pigeonhole eccentricity of closing cut "Let's Go See Roy".

Review: The second release on Lempuyang comes courtesy of Tomoki Tsukamoto. In the late 90s Tomoki put out releases on Gez Varley's G Records, i220, and of course ran his own Metrojuice Records imprint; putting out some of the most sought-after deep & dubby techno records under his alias W-Moon. After a hiatus of over 20 years he now returns with four new tracks under his own name, still retaining that deep signature sound.

Review: Black Key return from a four year hiatus in style, with 4 sublime tracks from Australian ultra deep house don, Planisphere, aka David Swatten. Following an incredibly well received LP on reissue label, For Those That Knoe, Swatten returns here with more expansive, smokey and utterly consuming deep house cuts, stamped with his unique sound but offering a different flavour from his Definitive Transmission LP - one which immediately stands out from the crowd. Being only his third release in 20 years, there's an understandable sense of anticipation around Swatten's output. This release undoubtedly puts Black Key firmly back on the map, picking up their deserved reputation for releasing only the very best deep house, aimed well and truly at the heads.