Back catalogue: All genres

Review: B2 Recordings is one of those labels that is deeply entrenched in proper house circles. Its latest comes from Begoa who keeps it nice and chill on 'I Won't Love You' (feat Mimi X FY). The drums are low-slung, the chords are breezy and warm. 'Bibi's Funk' then layers in some lively percussion that adds a nice texture to the swaggering, slo-mo grooves. 'Listen' picks up the pace with some electro-charged rhythms and corrugated bass funk and then 'Exiles' leaves you with another classy, spacious sound with persuasive claps and big splashy cymbals.

Review: Japanese DJ, producer and remixer Makoto Nakatani is the man behind the M-Scape alias, and he straddles genre borders with the four cuts he serves up for evergreen UK staple Local Talk. 'Urban Reconstruction' is propulsive deep house with Detroit-style hi-tek synth magic colouring the airwaves. 'I Do' is an ass-wiggling heater with stylised vocals and colourful melodic motifs triggered by the drums. 'Freedom' is all early Chicago jack, cowbells and sugary chord progressions, then 'Let The Drums Play' taps into sun-kissed London broken beat with cosmic melodies adding a futuristic twist. There are a lot of different moods touched up on with this EP and they are all high-class.

Review: Kicking of the fifth volume of Milan's Manzo Edits series after a hat-trick-and-more's worth of Afro-disco edits, we've now 'Rosy' on our ears, a bittersweet disco daydream fattened on swooning strings and lovesick charm. Things get steamier after the fact with 'Amare Moto', a slinky, mid-tempo grind laced with satin synths and late-night shimmer. Flip it over and you have 'You Have To Cry Tonight; tight Italo percs clutter in with big hair energy, and a bassline built for strutting. Closer 'Bring Me' dials up the absurdity: cowbells, yodels, and alpine mischief collide in a peak-time oddball rave.

Review: Hot on the heels of the release of Medlar's brilliant new album, Islands (a first solo set for 12 years, fact fans), Delusions of Grandeur has decided to deliver a swathe of club-ready remixes of key cuts. Predictably, the label has opted for an eclectic range of high-profile underground artists. Acid house revivalists Paranoid London step up first, re-framing 'Lub Interlude' as a dark, TB-303 fired chunk of electronic body music, before Crazy P's Ron Basejam turns 'Dot The T's', featuring rapper DeeVoNay, into a string-laden mutant electro shuffler. Over on side B, Josh Ludlow re-invents 'Atlantean' as an acid-flecked midtempo chugger, while Medlar himself delivers a gorgeous and colourful 'Sunset Dub' of 'Midnight Chicadas'.

Review: It seems as though Mike & Benney have come completely out of leftfield to drop this - details on the pair are exceedingly thin on the ground. That doesn't matter, though, cause this new EP is a big opening statement. 'Ready For Tonight?' It's thudding but well swung house with smart synth lines and a funky bassline, while 'What Can I Say?' Brings more kaleidoscopic colour and gurgling synths to a cruising groove. 'Les Oiseaux' has a militant snap to the drums that's softened by the gooey pads, and 'Bird Vocalization' is just that - found sounds that place you outdoors during a frenzied morning call.

Review: Veteran UK producer and onetime member of techno/electro legends The Advent returns with a versatile three-track offering on his own Phoenix G label. The release explores the intersections of dub, house and techno, showing MR G's knack for creating deep, emotive grooves. Over the 25 years he's been releasing music he's kept a signature style and this is no excepyion. Side-1 features 'Dust In The System: Tokyo Dub Plate', a jazzy, dub-infused tech-house track with a rich, atmospheric vibe. Its deep basslines and subtle swing make it both hypnotic and dancefloor-ready. Side-2 opens with 'Let's Do It', where acid-laced techno and house collide. With bold rave chords and a driving rhythm, this track packs an infectious energy that feels destined for peak-time moments. Closing the EP is 'Find Love (Ambient Space Tek)', a chord-heavy, dreamlike piece that leans into chill-out territory. Its ambient tones and ethereal textures provide a soothing contrast, ending the record on a reflective note. Another excellent album, functional yet soulful, in his impressive catalogue.

Review: Celebrating 25 years of two of the most influential house labels around, this joint double-pack from London's R2 and Osunlade's Yoruba Records is a heavyweight offering that bridges soulful roots and dancefloor depth. Karizma's long-awaited 'Spirit' appears in multiple formsihis original gospel-powered burner, a Josh Milan remix (as Honeycomb), and a dub version featuring Nicholas Ryan Gant, all radiating righteous, late-night warmth. The second R2 cut, 'W!thout !t' is stripped and punchy, full of Karizma's trademark percussive invention. Yoruba's side sees Osunlade light up the system with 'Electricity' and 'Sumpin' Like Dis', both steeped in rhythm and spiritual uplift. Afefe Iku's '823' dives deep into his signature twilight textures, while Karizma's Baltimore remix of Mr. Flip's 'Drippin'' closes the set on a loose and funky high. It's a snapshot of two defining voices in house musicirich in groove, spirit and intention.

Review: Margaux Gazur has made her mark as a DJ with sets at places like Panorama Bar and Waking Life. Her debut album on Smallville is a deeply personal exploration of identity and sound that confirms she is just as good in the studio. The French-Vietnamese artist is now based in Berlin but draws from her time living in Vietnam and childhood recollections to craft nearly 70 minutes of immersive, organic electronica across Blurred Memories. Field recordings, traditional instruments and woozy textures blend with street rhythms from Hanoi to create rich, intimate soundscapes of the sort that are well suited to this label. Each track reveals delicate details such as mysterious voices and fragile glitches in the hypnotic grooves. Known for captivating sets at Panorama Bar, La Station, and Waking Life, Margaux offers a magical, emotionally resonant debut that invites listeners into her blurred sonic past.

Review: On his long-awaited debut, Osaka's Takuya Matsumoto draws a clear line between the tactile futurism of 90s IDM and the emotional depth of Detroit techno, finding beauty in grit and structure in chaos. There's a cinematic quality to the sequencing, from the shimmering opener 'Drifting On The Ocean' to the gnarled syncopations of 'Dril and Acid' and the broken funk of 'Fonseca'. But what makes this record truly sing is its refusal to sit still: 'Mini' dances with jazzy irreverence, while 'Triangles' feels like a dusted-off memory from a lost Rephlex archive. Matsumoto's palette is warm, spiky, and full of movementian album built not on pastiche but on devotion to groove and experimentation in equal measure. You hear shades of Underground Resistance's urgency, Mike Paradinas' off-grid detail, and Floating Points' melodic intricacy, but none of it feels borrowed. 'Traverse' and 'Mercy on the floor' close things with a spacious melancholy that lingers beyond the final fade. This is a conversation with dance music history, spoken fluently in rhythm and mood. A richly detailed, deeply personal statement from one of Japan's most quietly consistent producers.