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Review: The rise of Ilian Tape has been piloted by Dario and Marco Zenker with a steady assurance, so it makes perfect sense for the brothers to helm the first long player project from the Munich label. Immersion is a vibrant, atmospheric stroll through their various influences and inspirations with plenty to admire amongst the ten tracks. There is the bustling, leftfield breakbeat techno of "TSV WB" and pounding "High Club" (a no-nonsense dancefloor assault blessed with occasional eyes-closed chords), as well as sublime tech-jazz of "Cornel 21" and pitched-down junglisms of "Innef Runs". Interestingly, there are also a number of crusty, distorted ambient interludes, with "Erbquake" sounding particularly potent.

Review: Osaka's Koshiro "YPY" Hino built his reputation on a series of fearlessly experimental cassette releases, before breaking cover to deliver a 12" of frazzled techno on Nous last year. Zurhyrethm marks his long-form vinyl debut, and contains eight suitably experimental tracks stretched across two slabs of wax. While there are clear tropical influences, a humid feel and nods towards the visceral pleasures of ambient, Hino's greatest strength is his eccentric drum programming. Zurhyrethm's dense - but often subtly mixed - percussive backing dominates throughout, with nods to African and South American rhythms, Sweet Exorcist's C.C.CD-era "clonk techno" (look it up), and the metallic clanking of classic industrial music.

Review: De Niro Is Concerned is the latest compilation to surface on Nina Kraviz's trip imprint - the Siberian artist's label gaining new momentum in 2015 and diversifying thanks to a selection of fresh artists - and it's an exquisite blend of house, techno and straight-up jack-funk. Among others, you have Iceland's Bjarki with the raw and sparse "Revolution", Millsian Detroit sounds from Deniro on Dumans, and Kraviz herself with Exos on the wavey and hypnotic "No Criminals". All in all, a wildly comprehensive bundle of house-techno hybrids for that 3am slot. Raw and diverse, wild and seductive.

Review: Efficient Space's latest essential release sees Andras and Instant Peterson take a trawl through the darker, lesser-visited corners of Australian electronic music. According to the label, the pair lifted material from "local 12" singles, CD-Rs and the archives of community radio station 3RRR FM". Highlights come thick and fast throughout, from the acid-flecked, "Nude Photo" style Detroit fun of FSOM's "Resist The Beat" and chiming, trumpet-laden bliss of Ian Eccles-Smith's "The Slaughtering Eye", to the jaunty, mid-90s New York style bounce of Blimp's "Yellowgold" and the ultra-deep ambient techno pulse of Tetrphnm's "Track 11". Check, too, the enveloping dreaminess of Screensaver's drifting ambient closer, and the jazzy dancefloor depth of Inner Harmomy's "Da Lub Club".

Review: The reissue of Surgeon's classic 1999 album Force & Form brings back the unique sound of the Birmingham techno maestro. With every track from Electric Chicken, Movement, to Prowler hearing a thorough remastering job from the one and only Matt Colton, this album is renowned as one of the true inception points of the Birmingham sound: cold metallics, industrial noise, intense rhythms and unrelenting energy. Considered a turning point in the artist's wilfully scalpel-precise career, Force & Form established Surgeon as a true master of techno.

Review: Italian producer Enrico Sangiuliano may have been serving up dark and intoxicating techno twelves for the best part of a decade, but never before has he turned his hand to the full-length format. Biomorph is not just any old debut album, either, but rather a concept album described by Drumcode as "a journey of evolution". In practice, that means an album that ebbs and flows throughout, opening with a dash of spacey ambient, before charging off on a trip marked out by pulsating techno rhythms (crafted from both straight 4/4 beats and breakbeats), spiraling electronic motifs, booming, elongated basslines, experimental electronic interludes and more future big room techno anthems than the contents of Adam Beyer's USB stick. In other words, if you love Drumcode's particular brand of bombastic techno, you'll love Biomorph.

Review: It's been a decade since Underground Resistance affiliate Santiago Salazar made his debut on Los Hermanos. Surprisingly, this double pack represents his first attempt releasing an album, though whether Chicanismo was intended to be a 'proper' full length is a moot point. There's certainly plenty to enjoy, with Salazar melding his usual influences - deep house, Detroit techno, tech-house, Latin rhythms and dreamy, rave-era, breakbeat driven grooves - into a range of attractive, floor-friendly cuts. There's naturally much to enjoy throughout, from the title track's Motor City beats, heavy bass and swirling pads, to the bumpin' tribal rhythms and mangled tropical bird noises of "UKB to LAX".

Review: Having introduced Spanish ambient pioneer Suso Saiz to a wider audience via last year's superb Odisea retrospective, Music From Memory has scored a new album from the long-serving musician and composer. Rainworks was recorded over a two-month period in early 2016, and sees Saiz evocatively joining the dots between Jonny Nash style guitar-led ambience, gently undulating, piano-driven mood pieces, evocative collages of found sounds and field recordings (see opener "From Memory & The Sky"), and ghostly, effects-laden ambient. He also finds time to pay tribute to Steve Reich style American minimalism on the cyclical brilliance of "They Don't Love Each Other".

Review: We are honored to release 'A Boy Alone', a double LP set from Manchester electronic music pioneer Eric Random. Best known for his early recordings for New Hormones and Les Disques du Crepuscule and collaborations with Pete Shelley (Buzzcocks), Cabaret Voltaire and Nico. As an original member of The Tiller Boys with Shelley, Random injected a healthy dose of Krautrock into the dour Manchester post-punk scene in 1978/79 before going solo the following year. Random's first 7" "Subliminal"/"23 Skidoo" was released in 1981 via Les Disques du Crepuscule and explored ominous sonic surrounds. That same year also saw the release of a second 7" single on New Hormones, "Dow Chemical Company"/ "Skin Deep". Both tracks offered bubbling, rhythmic sound patterns, and were the first to feature other musicians that would become know as The Bedlamites. Consisting of Lynn Walton on vocals, Ian Runacres and Andy Diagram of Dislocation Dance, and bassist Wayne Worm, aka Wayne Sedgeman. Their debut 12" single "Subliminal Seduction"/"Bedlam-a-Go-Go" was released in 1982 through Plurex, mixing arid funk textures and sparse melodies. That same year the group contributed proto chill-out track "6.55" to Plurex compilation 'Hours' and the highly filmic track "In Cassette Conference" to the Touch cassette package 'Feature Mist'. In 1983, Random spent several months in the Himalayas with a group of musicians from the Kulu Valley and studied non-Western instruments such as tabla. On returning to Manchester, Random convened a new group of Belamites including Walton, Sedgeman and drummer Graham Dowdall aka Dids of Ludus. They released the 12" single "Mad As Mankind"/"Dream Web Of Maya" in 1984 on Cabaret Voltaire's Doublevision, embracing electronic, industrial and dub styles. In 1985 they contributed the soothing "Pure Power" to Food Records' "Imminent Episode One" compilation. Our reissue also includes 4 unreleased bonus tracks from Eric's archives recorded between 1981-1984. The whole set adds up to 115 minutes of sinister, somnambulant Random music. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a gatefold jacket designed by Eloise Leigh featuring a spread of ephemera, photos with liner notes by James Nice of LTM.

Review: Terrence Dixon's announcement of plans to retire from techno with immediate effect earlier this year have typically gone without any further explanation, though it's been heartening to see his final round of projects surface over the course of 2014. Having already committed a killer Population One 12" to Metroplex, Dixon delivers another fitting parting shot in this LP for Rush Hour, who took their name from his classic Pop One production "Rush Hour". Theater Of A Confused Mind is a powerful statement from Dixon, expanding on the sci-fi themes of previous Population One material and posing several cryptic questions. Dixon's own voice introduces the album on "Out Of Control" and as matters progress those trademark queasy lines of melody begin to take control - "Inner City Circus" being a stand out of this set.

Review: Finnish producer Aleksi Perala brings his brand of melodic, high-concept techno to Nina Kraviz's Trip label for the first time. As usual, the ten tracks here were created using Perala's now infamous "Colundi Sequence" - a micro-tuning method that's now almost better known than the former Rephlex man's music. There's naturally much to admire throughout, from restless club tracks blessed with rainbow-rich waves of melody, to strange, acid-fired wig-outs, low-slung, bass-heavy jack-tracks and glistening fusions of club-ready IDM and ultra-violet ambient. As a producer, Perala possesses a rare skill: the ability to create melodious, experimentally minded electronic music that works on club dancefloors. It's this that makes Paradox such an impressive release.

Review: Last year, someone set up an online petition calling for Warp to re-release The Other People Place's brilliant Lifestyles Of The Laptop Cafe album on wax. Happily, Warp has responded to the strength of feeling from electronica fans - most of whom bristled at the high online prices for second hand copies - and re-pressed it. Drexciya man James Stinson's 2001 solo set remains a timeless electronic classic; a perfectly pitched and immaculately produced fusion of downtempo electro rhythms, spacey electronics and twinkling synthesizer melodies. In fact, you'll struggle to find a better electro album full stop, making this reissue an essential purchase for anyone not lucky enough to own an original copy.

Review: Having set aside their musical differences following a period of reflection, the Hartnoll brothers return with their tenth studio album. The break seems to have done them some good, because "Monsters Exist" contains some material that's every bit as beguiling and impressive as their most celebrated work. Certainly, there are hints of classic Orbital in the spellbinding electronics and enveloping gloominess of "Buried Deep Within", the intergalactic ambient symphony of "There Will Come a Time" (listen out for a guest spoken word vocal by rave's favourite scientist, Professor Brian Cox), and the title track's rapidly expanding paranoia. There are a few dancefloor-centric blasts from the past, too ("Hoo Hoo Ha Ha" and the festival-friendly bounce of "PHUK"), suggesting that the veteran twosome could be ready for a late-career revival.

Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.

Review: During the late 1990s, Japanese producer Yuji Takanouchi produced a trio of sublime EPs, most of which went largely overlooked at the time. He surprisingly returned to action a few years ago with a handful of similarly dreamy, loved-up productions, prompting R&S offshoot Apollo Records - who famously released his peerless ambient house 12", Southern Paradise, in 1997 - to put together this superb compilation. The genius of his productions, whether dancefloor leaning or more horizontal in ethos, always lay in the hazy colourfulness of his synthesizer melodies and life-affirming chord progressions. It's those traits, coupled with his firm grasp of deep house and intelligent techno aesthetics, which shine through on Brand New Day. "Pacific Jazz", "Nite" and "Ocean In Heaven", in particular, are stunning.

Review: We all have absurd memories but they are unlikely to be as beautiful as those in which Modeste invites us to share. Cannataci Records is a new outlet from Ripperton and Agnes Cannataci and offers up tons of empty space, bass, ambient synths and post-rave comedown sounds that are beautifully delicate yet emotionally impactful. The cavernous tracks come with exquisite vocal samples, plenty of hefty bottom ends but also meaningful melodies. There is an unpolished lo-fi sheen to much of the sound design that makes it all the more warm and lived in.

Review: Given the hype that surrounded the release of the first Moderat set back in 2009, we can surely expect more of the same for this second outing from Apparat and Modeselektor. Those familiar with the first album's woozy blend of IDM, Thom Yorke indebted vocal dreaminess, porchlight techno and post-dubstep rhythms will immediately feel right at home. Online reviews have focused largely on II's atmospheric warmth, and the way in which the Berlin-based trio seems to have refined their sound. Both are valid critiques; certainly, there's a maturity and musical complexity to the album that betters much of their previous works. It's not much of a dancefloor set, but that's entirely the point; this is locked-in headphone listening for the wide-eyed generation.

Review: Given the hype that surrounded the release of the first Moderat set back in 2009, we can surely expect more of the same for this second outing from Apparat and Modeselektor. Those familiar with the first album's woozy blend of IDM, Thom Yorke indebted vocal dreaminess, porchlight techno and post-dubstep rhythms will immediately feel right at home. Online reviews have focused largely on II's atmospheric warmth, and the way in which the Berlin-based trio seems to have refined their sound. Both are valid critiques; certainly, there's a maturity and musical complexity to the album that betters much of their previous works. It's not much of a dancefloor set, but that's entirely the point; this is locked-in headphone listening for the wide-eyed generation.

Review: Having previously reissued Mkwaju Ensemble's inspired 1981 debut "Ki-Motion", WRWTFWW now turns its attention to their equally impressive follow-up from the same year, "Mkwaju". Beginning with a breezy chunk of Marimba-driven four-to-the-floor bliss, the album sees the Japanese trio - whose members included legendary percussionist and ambient artist Midori Takada - shuffle between hypnotic, Steve Reich-influenced minimalism ("Shak Shak"), melodious fusions of new age electronica and modern American classical ("Tira-Rin"), and glacial ambient soundscapes ("Pulse In The Mind"). Best of all, though, is "Flash-Back", a dense and intoxicating percussion workout that stretches out over 13 mind-bending minutes.

Review: Jeff Mills throws a spaghettifying curveball with latest EP 'The Trip'. Themed after the terrifying notion of entering a black hole, and likening this to the vicarious yet no less enjoyable illusions of grandeur that might go hand in hand with attending a Millsart rave, 'The Trip' has been routinely billed as "the world's first cosmic opera" (in its performance incarnation), and attempts to sonically answer the question as to what exactly happens when we cross that fateful event horizon, in ambitious, live-jam-born-recorded form. Via eight cosmic suites of terrifying techno wizardry (we'd expect nothing less from the Belleville 'blazer), Jeff Mills brings his originally live, light-eating vision to vinyl, nailing the cosmick perceptual horror of being "sucked in" through dust-bitten repetitions, descending mind-melts and dissociative-detuned fugues - the latter is most intriguing; 'When Time Stops' is the track of choice for exploring Mills' least repetitious and most improvisatory tendencies.

Review: Japanese producer Kuniyuki Takahashi's Newwave project is a new interpretation of his musical roots. He was majorly influenced by SPK, Test Dept, D.A.F and various industrial and EBM acts. Then he formed an industrial music band with his brother in the late 80's called DRP. After 25 years, his new release is a unique mixture of his deep and emotional house sound with the aforementioned influences and now presenting the second volume once again on Mule Musiq. Takahashi is a stalwart of the label, having put out close a dozen LP and several EPs on the label over the years. From the broken beat and arpeggios of "Blue Neon" to the neon-lit '80s night deep house of "Newwave Project #11" there's an odd collection of grooves on here from a unique perspective.

Review: First surfacing on Clone Jack For Daze back in 2011, Berlin-based Murphy Jax has taken a nomadic approach to distributing his raw and eminently danceable brand of Chicago House, gracing labels as diverse as Turbo, Hype Ltd, Exploited and perhaps most interestingly Lux Rec. His Lost Soundtracks Main Themes EP for the Swiss label dabbled in cinematic concepts and proved Jax was capable of more than straight up club tools. A debut album for the Chiwax label in the shape of Teleport: Echo City continues the producer's interest in conceptual themes, detailing the story of a "pre-apocalyptic generation of robots on a planet of machines" but don't be too worried as musically it sticks close to the styles Jax has explored previously. So expect Chicago House, Classic Deep House, Movie Theme style cuts and raw Acid workouts.