Back catalogue: All genres

Review: Mathias Kaden's Circulate EP takes its time, but in the best possible way. Freedom opens with a lean, rhythmic pulse, all stripped-back beats and delicate stabs, before a gospel vocal drops in, adding a moment of unexpected brilliance. It's a track that operates with precisioniKaden makes every element count without overcrowding the sound. The low-end groove moves with a quiet confidence, refusing to show off yet impossible to ignore. Circulate, the title track, leans into a hypnotic, classy mood. Synth hits crackle through like electricity, giving the track an infectious tension without ever needing to go over the top. It's all about subtle control, making it the kind of track that commands attention without ever asking for it. William Kiss steps in on remix duties for Freedom, pushing it into full peak-time mode. There's an extra layer of percussion and a heavier swing that gives the track a new edge, transforming it into something bigger without losing the original's sharp focus. To close, Kaden's Twisting Shadows brings in an acidic bassline and warped vocals, shifting the energy into something more unpredictableiperfect for those moments where the night starts to take on a life of its own.

Review: Radio Slave's Rekids label welcomes Berlin mainstay Mathias Kaden for a new single that features Zoe Xenia and remixes from label regular Ian Pooley. 'Blackbird' is a big tech house cut that is defined by its scintillating synth work which dances a busy dance over metallic, synthetic drum sounds. The vocals are the fiery finish that will make this a real club anthem. It also comes as an instrumental while the Ian Pooley Pooley main remix brings a little more funk and nuance to his well swung house drums. His basic dub then ups the bas weight and drum intensity to make for a fine finish.

Review: November sees William Kiss return to Rekids with 'The Beat' EP, fresh off his remix work on Mathias Kaden's Circulate. The A-side delivers 'The Beat', driven by bodied toms and crisp percussion, complemented by a playful vocal sample that keeps the groove locked in. On the flip, 'Midnight Club' brings classic house vocals, organic drum patterns, and strobe-light synths. With strong support from the likes of Laurent Garnier and HAAi, Kiss showcases his evolving sound once again, marking another standout release on Radio Slave's iconic label.

Review: Matt Edwards's label Rekids continues to do a brilliant job of curating innovative and interesting techno sounds that work in the club but never lack character. This time it looks to Hilit Kolet who kicks off with 'Snap Talk' (feat Kameelah Waheed) - it's a buoyant and bass-heavy bit of bouncing techno with chattery claps and Afro rhythms. On the flip side, 'Gate 33' is another bold club sound with great vocals worked into the busy broken beats as a peppering of percussion up top adds further layers of rhythm. Both of these will make a real mark in any set.

Review: Second time around for Nina Kraviz's key early single Pain In The Ass, a two-tracker that was originally released on Rekids way back in 2009. This edition has been pressed to brilliant white vinyl, though otherwise it's the same as the original 12" release. That's no bad thing though, because the title track is a particularly druggy, wonky and out-there chunk of after-hours sleaze, with Kraviz layering ghostly electronic stabs and her own spoken word vocals over a sparse-but-heavy tech-house groove. Original B-side 'I'm Gonna Get You' is a slightly dreamier affair, with Kraviz singing over squelchy synth-bass, sustained deep space chords, chiming melodies and more stripped-back beats.