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Review: Even if you weren't privy to the news that Firecracker had launched an offshoot, your immediate thought when grasping this inaugural release on Unthank would be that it had something to do with the Edinburgh imprint. Arriving in bespoke purple hand stamped sleeve art pressed on 10 inches of clear vinyl and wrapped in Japanese style plastic, it's one of this year's most attractive propositions for vinyl obsessives. This is all without even approaching the music, a debut peek into the musical mind of newcomer Bakey USTL, an Amsterdam dwelling Estonian producer. In "A Tender Place" Bakey has delivered one of the most disjointed, flagrantly risque, thumping eight minutes of house music your senses might be exposed to this year. In contrast to the sleaze on the A Side, the opposing proceedings open with the shuffling future soul abstractions of "Nose Candy" minimalist beatdown at it's finest, whilst "Heroin" marks a swift descent into the depths of South American narcotic noise. Thus the schizoid brilliance of the A Side is matched by the slightly menacing strangeness of the opposing side on a record which is limited in numbers and high on demand.

Review: Norwich may be a fine city (as it's road signs proclaim), but it does seem an unlikely place to find a party - and now offshoot label - dedicated to skewed analogue disco, spacey house, and pictures of cats on synthesizers. Welcome to the world of Cosmic Pint Glass, who unveil their imprint with an excellent EP from rising star Ruf Dug. The brilliantly titled "Guy Threepwood Takes DMT & Goes Paragliding At Sunset" is particularly good, layering cheap-and-cheerful synth melodies over a loose-but-chunky drum machine groove. "Joanna" sounds like a fusion of cheeky Balearica and kosmiche after a few too many sherberts, while the Dangerous Dub of the same track is a moody, late night treat.

Review: Having appeared on a few of Red Laser's various artist EPs, Clandestino's synth wizard Nick Smith finally gets his debut EP on Bosco's label. "Flashback" pumps with a starlight riff that tips a neat nod at the Innervisions style of cosmic tech where a variety of analogue elements ripple and wave over the sturdy kicks, "Planet Raider" takes more of an Italo route. A little slower and full-spectrum, its velvet arpeggios overlap and weave to mesmerising effect. Man Power closes the show with an epic nine minute remix and there's not a dry eye in sight.

Review: Frankfurt-based Phil Evans first appeared on our radar back in 2015 via a series of collaborations and solo EPs on the Pager Records label he co-founded. Last year he donned a new alias, Thomas Rooge, delivering a fine pair of EPs on GOSU. Here his rise through the ranks continues via another rock-solid four-tracker that tiptoes the fine line between house and techno. We're particularly enjoying opener "FTR", bouncy affair full of Terrence Parker style stretched-out organ chords, crispy percussion and a repeated vocal refrain ("I'm from the future!"), though there's plenty more to enjoy elsewhere. Check, for example, the thrusting, bass-heavy late night pump of "PHouz" and the deliciously dreamy, intergalactic brilliance of Motor City techno-influenced deep house numbers "I Ce" and "Lucyd".

Review: Jacob Korn may have made his name on Uncanny Valley, but the Dresden producer has not put out anything on the imprint - or any other, for that matter - since 2012. This, then, is a welcome return. Pleasingly, it's also something of a belter, with Korn offering a range of distinctive takes on house music. For example, opener "Eisladen" fuses highlife guitars and a bleep-heavy breakdown with a surging drum machine groove, while "Arzt im Praktikum" sounds like Mr Oizo jamming with Liquid Liquid. "Fahrt durch Tal" - featuring a brilliant disco bassline from Phillip Oertel - saunters off on a deep space disco tip, before Korn once again doffs a cap to Africa with "Kokonuss", a blissfully sweet and thrillingly eccentric fusion of wide-eyed marimba melodies, warped electronics and loose drum machine beats.