Back catalogue: All genres

Review: Remarkable future deep house from an artist whose reputation speaks for itself, nonetheless through the wing-flapped wings and freedom trills of the past. As he came of age in New Jersey in the mid 1980s, Kerri Chandler's groove-driven productions and rapt DJ sets could easily be said to have "evangelised" the dancefloor, with the deep and soul-bearing tilt of his sound seeming to promise salvation. Undoing and atonement come to those who shrive not in speech, but by moving their feet. 'Caged Bird' first came in 2020 - well past Chandler's 90s purple patch - but nonetheless contained as ever the slickly sophisticated jazz and vocal reflections likely inherited from Chandler's father, the late great jazzer DJ Joseph Chandler. Nae sings on the track, and her lyrics name-check Maya Angelou, who adapted the infamous poem 'Sympathy' by Paul Laurence Dunbar under the name 'Caged Bird'.

Review: Neil E and Big City Bill's latest doubles as the second offering from Spincycle, yet another a split 7" single on 180g vinyl. The twins' journey began two decades ago high up in an unnamed mountain range, where they met, after which they descended onto the city in search of purpose. Thus spake Zarathustra: down below, they toiled away in dimly lit garages, decoding mysterious symbols cast on walls by home-gaffed fluorescent lights. At first, their work seemed like madness, but there comes a time in every madman's life when toil leads to breakthrough. Thus were sowed the two fine harvests you hear here: 'Dry Rub', with its tugging taut sound design, and 'The BBV', a mistier firmament of altitudinal unknowns. No need to map out the terrain first - just give in to your ears.

Review: Heavyweight sonic Afro-botics from Nikodemus, Barzo and Mr Doris on 7" wax. The trio team up here with Dinked Records for a double-bill 7" in veins of amapiano and broken beat, primed for crate sifters and floor ambulants alike. On the A, 'Want Some More' delivers Mr. Doris' signature blend of rhythmic muscle and Afro-Latin swang, while the flip flops Nickodemus with Barzo and Zongo Abongo for 'Show Your Power': a bold, percussive cut straddling broken beat, house, and ska. Somewhere between 126 and 128 BPM, both are utter floor finishers and could easily intro your next Afro-house set as they could provide it a sense of continuous, mid-set body.

Review: This glorious reissue takes it all the way back to 1983 when Pamela Nivens dropped what has since become a stone-cold and highly sought-after soul and disco classic. If you can find an original copy, you will have to shell out a fair few quid for it so don't sleep on this. It's the only tune attributed to Nivens, but sure is a good one: the production is cutting-edge for the time with smart synth layers into the seductive drums, while the gorgeous vocal is the icing on the cake. You get, long, short and instrumental versions here.

Review: The Clergy Ten Year anniversary celebrations continue with a fourth special instalment of their various artists series. It's packed again with the sort of high-functioning techno that DJs always need to construct powerful sets, and that dancers will respond well to thanks to its detailing. Norbak opens with the moody minimalism of 'Sinto', Sciahri explore a more uptempo sound with grainy, gritty loops on 'Antartide' and Phara's 'Faint' gets more twisted with hellish effects and caustic textures all getting you on edge while the pummelling drums bounce out their muscular rhythm. These are evocative cuts for techno storytelling.

Review: For the latest missive on their reissue focused Rezpektiva imprint, Parisian label KMA60 takes us back to 1997 and the sole release from Bert Boon and Jaco Van Rijswijk as N.O.T, 'The Sound'. Flipping the order of the '97 12", this edition begins with the pair's original mix - a warm, colourful slab of purist, UK style early tech-house of the type most associated with Pantone-obsessed producers Circulation. On the flip-side opening 'Nice & Tide Mix', the Belgian duo opt for a chunkier and more bass-heavy late 90s deep house sound - all restless keyboard stabs, sampled house beats, effects-laden vocal snippets and winding acid lines - while the 'Dream Mix' is a bold, heavy and lightly psychedelic techno reinterpretation.

Review: Billy Nomates has been on quite a journey since seeing a Sleaford Mods show in her native East Midlands persuaded her to return to making music. Her first appearance, guesting on the Sleafords' 'Mork & Mindy' single, and Geoff Barrow-produced debut album were definitely hailing from the rough and ready school of scrappy, DIY post-punk. Metalhorse, her third long player to date, is an altogether more mature affair, leaning on the influence of her live band - bass player Mandy Clarke (KT Tunstall, The Go! Team) and drummer Liam Chapman (Rozi Plain, BMX Bandits) - to delve further into blues, folk and piano-led compositions. A concept album revolving around an abandoned funfair as a metaphor for life itself - "some rides are nice to get on and some rides aren't" she says - it's a fascinating listen and not, perhaps, what you might have been expecting.

Review: Billy Nomates' third studio album is the first that the Bristol-based Invada Records-signee recorded in the studio with a band. Formerly a solo artist standing alone on stage and making albums much the same way, now she has bass player Mandy Clarke (The Go! Team) and drummer Liam Chapman (BMX Bandits) backing her. They all went to Paco Loco Studios in beautiful Andalucia, Spain to record with James Trevascus (her hit single 'No' was the first thing they did together and they have a solid working relationship since). The resulting tracks - not least 'Plans' and 'Dark Horse Friend' (featuring actual Stranglers man Hugh Cornwell) from this adventure to sunnier climes are staggeringly impressive. It seems Billy Nomates, real name Tor Maries, has made the best album of her artistic life to-date. And it's a milestone that's bound to ensure this talented artist remains part of the fabric of British popular music for years to come.