Back catalogue: All genres

Review: If you've not heard 'Skyscrapers' yet, where have you been? First released digitally last year and accompanied by more remixes than we can count, the track is arguably Nina Kraviz's most accessible, radio-friendly release to date - a potential crossover anthem that's as cool as it is catchy. Now finally available on vinyl via this single-sided seven-inch, 'Skyscrapers' is a prime piece of what Kraftwerk would have called 'techno-pop', with the much-loved Russian producer's sweet vocals rising above a bed of ultra-crunchy, snare-heavy machine drums, dreamy Chris Lowe chords, gaseous pads and ear-catching lead lines. It's basically synth-pop, but it's classy and sonically deep enough to please all but the angriest underground techno purists.

Review: Nina Kraviz has approached her latest single 'Tarde' with cogent flair, issuing several vinyl remix sets to divvy up and complement a full ten-track digital compilation, made up of a star cast of remixes by major artists. On another 12", Kraviz shortens the full ten tracks to a short selection. The tense, and hummingly fun, original track 'Tarde', released earlier this year, is heard in full effect on this record's B-side, coming complemented by Melchior Productions' phattened 'Late Mix' in the vein of flickering tech house. The A-side is taken up meanwhile by veteran endurance DJ Ricardo Villalobos, whose version of 'Tarde' doesn't care a hoot about tardiness less than it does bask in it, slowly unveiling a clockwork mechanism of spitting schematic beats and tastefully placed vocal shouts from Nina's original acapella.

Review: Following fresh from her most recent single 'Tarde', the world's best-kept techno titan Nina Kraviz has gone on to enlist an all-star cast of remixers for a decalogue of versions of the track, notably topped off by a pystrance remix. But on this 12", Kraviz shortens the full ten tracks to four, streamlining the selection for the system-respecting DJ. "Tarde" meaning "late" in Spanish, Kraviz' original track is a brooding slow murmur, textured by earthen Reese-esque basses, ambirhythmic rumbles, and amorous lyrics in Spanish sung by Kraviz herself. Though the mood is climactic, Kraviz' subject matter is one of dubiety and anticlimax, standing tiptoed on the fence between giving love and deeming it too late. The remixes are uniformly weird, not eschewing the needs of the club-goer yet not shying from the dare of challenging them either. Of the remixes chosen here, dubstep OG Mala crops up for a surprise dash of steppers' quality; U.R.Trax continues the charge with a tricky but efflorescent minimal version; and Vladimir Dubyshkin opens the floodgates for a wacky big-roomed hard trance floater.