Silent Season have carried the music of Submersion and Mon0 independently before, but now the dub techno producers have teamed up to take their sound onto new plains of exploration. The sound palette is consistent with both their music and that of the label, but the familiar dancefloor tropes have been jettisoned in favour of a more meditative end result, leading in with the achingly beautiful tundra excursion of "Beginning Of The End". From there the album drifts with glacial motion through a range of finely crafted soundscapes, wielding a world of rumbling, harmonious noise in the middle distance without ever losing that seductive dub techno ambience.

Since its initial release on Warp Records in 1995, the Elecktroids sole album has become one of the most sought-after electro sets around, with original vinyl copies changing hands for vast sums online. This is with good reason, of course: not only is "Elektroworld" a brilliant album, but also the (un-credited) work of the late, great Drexciya member James Stimson. The set itself is a tribute to Kraftwerk, with Stimson and his mysterious associates delivering ear-catching blends of punchy, "Computerworld" style electro beats, funky basslines, spacey sounds, ear-catching melodies and, on some of the eleven tracks, vocals. It's much more "pop" than your average Drexciya-related project - in terms of its' richness, warmth and accessibility, at least - but still weighty enough to sound suitably heavy on club soundsystems.

The release of any new Gerard Hanson record is a cause for celebration, but we have to admit to being doubly excited about this one. It marks the long-serving producer's first solo Convextion release since 2016 and contains two killer cuts. The un-titled A-side is particularly impressive, with Hanson wrapping immersive, delay-laden electronics and sumptuous deep space chords around a bustling, dub-fired Motor City techno groove. Even by his standards, it's superb. Over on side B, he's back in atmospheric deep techno mode, offering up a poignant and melancholic affair that's as deep, spacey and emotional as anything he's ever done before. Given his track record, that's some accolade.

"Caruso are back after a long time away on Swiss imprint deepArtSounds having previously only released on Manchesters Ten Lovers Music label. Different is the lead track featuring the amazing vocals of Helen McCormack which also is reworked by the equally incredibly talented Trinidadian Deep in his own unique style. Dan Piu also supplies some fine re-edits of Caruso tracks Tobacco and Pure Sound. Caruso's Steve Conry and Cormac Fulton are working on lots of new material. This will be the first of many new releases. "

Background presents another dope classic by non other than Baby Ford. This record has been in high demand for almost 10 years now. Don't miss it as this will be gone quick.

"So wir exist wit the bruderz aus der midi-East. You (& You) ze Cosmic jumpers. Dub de Dolphin groove. Francois iz de secret energie. Ze klassisch Eastrumental mit kick. Hier mit love !!

After launching with a rock solid EP by Cally in July 2018, the More Than Music label returns to action with a double-header of dancefloor-focused fun. Arapu handles side A, serving up a wonderfully chunky, hypnotic and locked-in tech-house box jam built around sturdy kick-drums, funk-fuelled electronic glitches, restless bass and all manner of chopped and layered vocal samples. Over on side B, Cirhan continues on a similar theme, serving up a delightfully skewed fusion of booming sub-bass, swinging, off-kilter drums, creepy piano flourishes and moody, end-of-days aural textures. It's just as hypnotic as Arapu's A-side, just a little looser and woozier in feel.

Headstrong resident Randomer returns for a four-track solo mission after inaugurating the label by contributing tracks (alongside fellow resident Clouds) to the imprint's compilation style debut EP. The London-based producer is in fine form throughout, peppering a tough-as-teak techno groove with stabbing, UK funky style motifs on "Fat Purple Figs" before spreading fear and panic via the no-holds-barred peak-time intensity of "Stigma". He barely calms down on side B, offering up sharp trance style stabs and booming techno drums on "Sylo" and more tense, panicked intensity on the rave-influenced closing cut "Hidden". This, too, bears far more influence from the stab-happy world of trance than you might possibly expect.