Back catalogue: All genres

Review: From Ransom Note and Gestalt to Further Electronix, Placid One has been laying out an impressive repertoire of deep diving techno and electro steeped in the tropes of machine soul and rendered with a mature touch on the production. This double 12" for Altered Sense finds some breakbeat qualities slipping into the foundations of the tracks, albeit smudged under a heavy blanket of pads and woozy synth lines. There's an endless vista of harmonically enriched goodness to savour here - dance music with an emphasis on restoration rather than annihilation.

Review: Three years in the making, Peaky Beats' debut ten-track LP Bloodlines takes us on a journey through ancient and modern Middle-Eastern sounds fused with the whole gamut of UK bass music. Whether riffing off the mystical promises of the Jewish 'Kabbalah' or the feline gaze of the 'Cats Of Iraq', this is hardly a record sharing in the moody obsessional headnods evinced by Muslimgauze; instead, all tracks here are weighty two-steppers' gut-punctures, squeezing reams of tricksy garagey fun from the otherwise sparse reference to the Middle East - though this is eventually thoroughly fleshed out, especially in the use of characteristically Levantine samples in the breakdowns and transitions.

Review: Phatness is new and so-far anonymous side project from two producers based in the Swedish capital and who have connections to soundsystem culture through Trensum Tribe, Soft Pace and Otonos. This is their debut outing and it's a fresh blend of original jungle infused with inspiration from a wide world of sounds. There are tropical but physical sounds like 'Diplomatico Dub' packed with smart effects, minimal head spiders like the sci-fi styled '$nkt Erik Jamboree' and experimental vignettes such as 'Olearie$ Dub' with well-worked vocals and snaking basslines. It's colourful, unusual, and perfect for late-night sessions.

Review: Back in 2021 Adam Pits heralded the start of the On Rotation label with his own debut album, A Recurring Nature. Now he's back with a follow-up which finds him stretching out as an artist ever more - a fact which is absolutely evident from the gorgeous ambient swathes of opening track 'Lost In The Ether'. Even when the drums kick in on 'Sleepless', they're more tilted towards fragmented patterns and organic tones rather than rote drum machine sounds. There's space for peppier electronica and steppy heads-down gear, but throughout Pits imbues his sound with the richest synthesis imaginable. In that sense, you can track the path of development from his earlier work while enjoying the adventurous new terrain he's exploring as an artist.

Review: Pixel82 hails from Portugal and has been making music for the last 20 years. Early on they made punk/industrial and were then in a metal band but now they deal in powerful techno. Infinity is a concept album about "the continuum of life, of a constant loop that evolves over time. It is a discovery of myself musically, a rediscovery of the past to find the future." It is also full of club cuts designed to drive a crowd into overdrive. These are emotive tunes laden with synths that bring rushes of euphoria and plenty of psychedelic colours. It's a widescreen and rewarding listen.

Review: Joey Kendrick is perhaps better known for the braindance gear he's put out under his own name for Rephlex and the like, but he's also played around with plenty of aliases over the years too. His work as +10 actually predates his breakthrough years on Rephlex, having been released on the classy Canadian label Napalm Enema. Grace came out in 2007 and it sounds a little rowdier than later Kendrick works, but that's also part of its charm. Hence stalwart Belgian braindance believers WeMe have opted to reissue the CDr-only album as a double vinyl for your twitch, glitchy, acidic pleasure. It's a feast for the cerebellum, no doubt about it.

Review: Posthuman, the duo of Richard Bevan and Joshu Doherty present the latest full length release on their Balkan Vinyl imprint titled Requiem For a Rave, where they get nostalgic about their teenage years growing up in Scotland and the north east of England. The album conjures up memories of raves in the fields, cassette recordings of pirate radio stations, mixtapes, strange warehouses, strobelights and dancefloors. Indeed you can pick up on these sentiments throughout the album, from the ruffneck ting of opener 'RMX', to the cavernous tunnel vision of 'Fontalic', the acid trance euphoria of 'Proof & Fade' and the early '90s rave throwback of 'Rushing High'. Prepare to go all the way back.

Review: Always Outnumbered, Never Outgunned sees producer Liam Howlett deliver a hook-ridden album that nods to the British rave scene with uninhibited bass and bleeps, but plenty of blazing guitars that maintain The Prodigy's bridge between rock and dance. Hollywood glamour shines with Juliette Lewis on standout track 'Hot Ride,' channeling PJ Harvey's energy. Lewis also appears on the opener 'Spitfire,' an alluringly sinister track. The Gallagher brothers bring aggression to the closing track 'Shoot Down,' with Liam on vocals and Noel on bass, showing Oasis's punk side. Howlett's battle with Kool Keith on 'Wake Up Call' and the exuberant 'Girls,' featuring disco-punks The Ping Pong Bitches, showcase The Prodigy's willingness to experiment. Fans might miss Keith Flint's ghoulish presence, but the album's flair remains strong. Always Outnumbered, Never Outgunned is a storm of apt samples, grumbling percussion, and memorable riffs, reaffirming The Prodigy's place in the dance-punk genre.