Back catalogue: All genres

Review: The mysterious STAXX label kicks on with a third outing here, all under the same eponymous artist's name. All three of these nameless tracks explore different deep house vibes, starting with some dusty hi-hats and lazy claps on Track 1, which is embellished with some sweet melodic curlicues. 'Track 2' then hits with a little more of a bump 'n' grind feel and some muttered spoken words for extra atmosphere. 'Track 3' shuts down with a final irresistible house groove that is perfectly undercooked, detailed with just about melody and sure to prove timeless as the years pass.

Review: Enshrining its 20th release with a reverent new one from STBR, 'Atelir' on Daydream murks our expectations, bringing a thrilling lowercase slosher to classic black wax. 'Lloyd' and 'Homer' hear two named characters hog the studio, as STBR seizes many an interstitial productive moment in which to vary and excite the mix, though not *too* much. 'Session', meanwhile, brings a parallactic view of the prior two moods, acids squelching and spurting between relatively driven beats, while a closing paroxysm, 'Tourtour', insists we climb back down from our cloud.

Review: San Diego's Tabby Traxx is back with a second release that will again jack the club. This one is a debut from Steezy Ray Vaughan that blends old school acid into new school tools. 'Stalker' opens with a heavy drum stomp and eerie one-note melodies then Matt's Creepin' mix brings a lashing of acid madness over sci-fi tech drums. 'Flashback' has a more undulating and deep acid feel as the 303 is drawn out over razor sharp hi hats and rolling drums. 'Flashback' (Mike's Vox edit) has a little more menace for those freaky late-night after parties.

Review: Hamburg's Martin Stimming resurfaces with his first 12" in some two years, aligning with Koze's well respected Pampa Records for a two track release that "magnify the opposing sides of his studio psyche". Given Stimming has graced the likes of liebe*detail, Terminal M and Diynamic with his considered grasp of dancefloor dynamics, this Pampa debut is a smart move and shows he's lost none of his production panache despite the aforementioned absence. Lead track "China Tree" betrays a spikiness that will suit the dancefloor perfectly, with the primal bassline and raw, unpredictable drums really getting a grip on your attention. Those seeking some melodic sweetness from Stimming will be all over the B Side "Southern Sun" where Piper Davis's subtly affected vocals are woven into the very fabric of a woozy, kaleidoscopic production.

Review: 
For their second installment, the Chateau Chepere crew brings on board legendary producer Stephan Laubner under his STL moniker, with four time warping pieces of music. With his distinctive and intricate sonic palette, Laubner extracts from his hardware different musical colors and shapes to produce singular atmospheres. Opening up the EP is Fly Fly, an epic 11 min minimal house trip full of tension and excitement, followed by Eargrind, an eerie, laid back Detroit leaning ballad. On the flip is Light Up, a spaced out, playful and bittersweet number that will revitalize any hazy after-hours dancefloor. Closing up the EP is Unlike Dislike, a quirky, jacking and mischievous techno workout for the packed club. This diverse ep will pull the listeners and dancers into Laubner's multifaceted, low key but captivating universe.

Review: Steve O'Sullivan's Mosaic label is back with a second volume of its dubs series, this time on nice yellow vinyl with Sub Basics and Fletcher given one side each to shine. Sub Basics goes first with 'Mediterranean', a lovely liquid dub with bottomless depths and perfectly smooth, frictionless drums. Lovely soft melodies drift in and out as the echoing hits and icy hi-hats help oil this most heady of grooves. On the flip, Fletcher offers up 'Sludge' which is a little more tense and menacing, with darker bass and more texture as well as distant groaning pads that keep you guessing and on edge.

Review: Dub techno don Steve O'Sullivan's Mosaic label is back with a new dubs series and vol 1 kicks things off with a real doozy on lovely red wax. The boss himself offers up a Bluetrain special edition dub of Hidden Sequence's 'Synapse' which is all icy lines and liquid rhythms which make you think of some frozen lake on a misty morning. Sub Basics (Temple of Sound, Lion Charge Records) opens up with a fresh dub laden track with rippling chords, tons of echo and rolling drums on 'Quarters.' Both are timeless dub outings, as you would expect from this label.

Review: Subb-an's latest EP on the Sub Series imprint, titled Conscious, marks a dynamic return for the artist, displaying an evolution towards heightened musical and spiritual awareness. The EP features five equanimous club tracks, each distinct in its style and vision. 'Liquid Sun' kicks off the journey with a blend of deeper vibes and uplifting tones, offering a track that appeals to a wide audience. 'Contact' follows with its chord-driven, house-styled groove, adding a layer of depth to the EP's sonic landscape. Other highlights include, 'Wobble', which dives into a late-night deep groove, exuding a playful energy that keeps the dance floor moving. Throughout the EP, Subb-an demonstrates his ability at making intricate rhythms and hypnotic basslines, creating an immersive experience for listeners akin to his amazing DJing sets. From garage house to brooding acid, each track is carefully crafted to leave a great experience on the dancefloor.

Review: UK mainstay Subb-An makes a welcome return with this fresh new EP on Aesthetic. It finds him in great form with opener 'Seeing Colours' heading off down a nice liquid minimal route with crisp tech drums and twinkling synths up top to bring the magic. On the flip side is 'Plants', a rather serene and sublime cut with more rolling drums and plenty of deft synth designs that bring a certain celestial charm to the fizzing leads. Snad's remix then shuts things down with a more driving sense of tech house rhythm to complete a tasteful EP of heady sounds.

Review: 'Amnesia EP' by Subb An is an impressive showcase from this strong veteran producer, marking a strong entry into the minimal and tech house scene. On Side-1, 'Overdrive' starts with a peak-time groove that's both infectious and compelling, perfect for energising dance floors. Its catchy rhythms set a vibrant tone for the release. Following this, the title track, 'Amnesia', offers a melodic and flighty tech house vibe, weaving addictive hooks that invite listeners to lose themselves in its enchanting soundscape. Transitioning to Side-2, 'Hypnotise Me' dives deeper with an airy feel, characterised by a smooth, deep bassline that envelops the listener in a lush atmosphere. This track's polished production and groove set itself apart. Concluding the EP, Lux draws inspiration from Kraftwerk, presenting catchy rhythms infused with a modern twist that bridges classic influences with contemporary sounds. Overall, Amnesia EP highlights Subb An's potential as a noteworthy talent in the genre, delivering an engaging and cohesive collection.

Review: Following up that excellent Synchronicity on EP Phonica AM a couple of months back, hero of the Birmingham scene Subb An returns with more underground quality with this new one on the mighty 20/20 Vision. 'State Of Flow' is an emotive and breathtaking affair that's equal parts acid, progressive breaks and UK tech house with a seething Reese bassline lurking throughout that underpins angelic vocals. Over on the flip, remixes come from Adam Pits who takes you beyond the strobelights to reach for the lasers on his ravey take, followed by Armec's menacing experimental techno rework.

Review: Lisbon's Hubble Recordings present their sixth release so far, keeping firm to their artist-specific EPs approach following brilliant releases from Kaesar, Costin RP, Miroloja, Octave and Alex Pervukhin. The latest is from tech house hurler Sublee aka Stefan Nicu, whose flight-booking impulse is as strong as ever, here having stopped over from far-flung Romania. After a string of both digital and vinyl stopovers, 'Personal Universal' appears as the pendular follow-up to 2024's Rawax debut 'Simple Two', bringing hugely doubled vocal cantata to a fervent acid build on the title track, while ensuers 'Simple One' and 'Laculesdesample' bring fidgety synth double bass and unorthodox percussions. A personal universe we'd never want to leave!

Review: The mighty Rawax has now put out more than 100 releases and they are all as timeless and useful as the next. Sublee steps up for this new slab of sound and kris off with 'v' which take sup the whole of the A-side but enervating outstays its welcome. It is a progressive house cut with a driving low end, plenty of grit in the percussion and pads that circle round to bring scale and a sense of cosmic adventure. 'Simple Two' slips into a deeper, more silky tech house vibe with lovely melodic patterns raining down from above. 'Hey Brother' shuts down with some dark breakbeats and mind melting synth leads that are pure peak time, post-rush fodder.

Review: Romania has been hotbed of techno producers in the last handful of years. One of the important figures that is leading the charge is Sublee. Mesmerizing Fields is the newest original work for the producer and it finds a home at the Italian label Hashplant. The upbeat 'Spinning' starts the program off with a club stomper that is full of tension and tech. Then the title track completes the A-side with a broken electro workout that ultra-futuristic and funky. On the second side, we really like the ability 'Itsmyb' has to keep the peak time going along with some really cool electronic sounds. 'Your Coldness' just might be our favorite of the bunch. We love the anticipation, beauty and spacey style. Goosebump material. When you take into account the entire EP, you realise you have a lot of great varied techno here!

Review: Following the Bowery EP from DubTape, Skip Audio returns to its various artists format with a tidy four-tracker taking an extended journey into the realms of psychedelic house music. Sublee leads the way with the smoky, subliminal sound of 'Shuffle Kings' before DubTape offers up a subtly crooked beat to carry the whispers of pad and errant machine bleeps of 'Ziggurat'. Cosmjn keeps things steady and seductive with the late night tones of 'Grun', and Andy Catana's 'Everybody Dance' toys with broken beats and acid tweaking to get limbs all juicy when you up to your neck in heady party people wanting to get deeper on the dancefloor.

Review: Aksel Schaufler's roots homage continues with the third instalment of Golden Ravedays. Once again it's another luxurious extensive adventure on both sides. "1984" takes the A, sliding in at a modest 11 minute length wrapped up in warm, warped Jim Noir-esque organs, subtly developing into a breakbeat-driven wall of sound. "Pocket Love" takes a longer jaunt where the drums are the only constancy amid unpredictable ebbs and flows of synths lapping and overlapping with a slight hint of Holdenist chaos. Another golden chapter of two-sided immersion.

Review: First released in 1999, Swayzak's 'Floyd/Doobie' shook the British duo's catalogue. Though it wasn't 'Bueno' or 'Fukumachi', this deep house cut was the next best choice for followers of the then burgeoning tech house circuit. Swayzak were already favourites on this and the deep house scene, and had clawed in acclaim for their involvement in both as early as 1993. One particularly prolix bio deems them the incipients of "1st wave 2000-era progressive deep minimal", which is too analytic even for us manic categorisers. No, we prefer to take these two big-hitters as they are: brimming with enthusiasm for a gadget-packed future, 'Floyd' fizzes and twitches with the pulsing blurts of a saw synth, as if to suggest constant magnetic stimulation from above. 'Doobie', meanwhile, hears our protagonist disrobe the techno utility belt, returning to a wireless home, so to gaze out over a subtly detuned chord landscape set to munching percs.

Review: Swayzak's role in establishing minimal makes them one of the scene's greats. Their meticulously compiled discography has many treasures, and plenty of them are hard to find and expensive. That has long been the case with this EP, originally from 1998, but now reissued by the back-cat boffins at Rawax. 'Lokal' has it all across 11 immersive minutes, from the deft, loopy drum programming that floats above the floor to the wispy and synthetic melodies and churning synth hooks. 'Yardarm' is another majestic minimal symphony, though this one hits a little harder and might well be the best of the two because of it. It's a perfect mix of dreamy mental escape and irresistible body music for the wee-small hours.

Review: Swayzak is a micro house, minimal and techno duo, aka James S Taylor and David Brown from the UK, whose name alone will get many older dancers hot under the collar. Their craft was second to none during their peak and here we get a reminder of that with a new outing on Rawax. 'Floyd' is a jazzy dancer with live claps, spinning hi-hats and louche grooves all topped with synthetic synths that never quit. 'Doobie' is a more deep sound with late-night headsy vibes. The drums are supple, the synths squeal and spoken word mutterings add a human touch. Two well-realised and effective cuts from Swayzak.

Review: Philadelphia producer and DJ Sweater makes a blistering debut on New York's BLKMARKET MUSIC with five cuts that blur the lines between breakbeat, tech-house and low-slung electro. It's a sound rooted as much in dusty record bins he works the counter at Impressions Philly as it is in the warehouse circuits that forged this connection back in 2021. 'The Answer' opens with choppy drums and cosmic static, before both versions of 'Twilight Zone' spin the same eerie motif into sleek machine funk ('Space Mix') and woozy stepper ('Broken Mix'). On the flip, 'Better Ask Somebody' dials up the groove with bumping mids and a ghosted vocal chop, while 'Contact In The Zone' sends things into sludgy, broken-rhythm hypnosis. A bold first outing that speaks in riddles but hits with intent.

Review: Mystique is a brand new label out of the always fertile Dutch scene and it opens its account with a no holds-barred EP from Sylvester Javier, aka Stefano Curti of Vibraphone fame. He offers three originals and two versions starting with 'Secret Ceremonies' (Italo Disco mix) which is a pulsating house cut awash with plenty of across textures and percussion. The Cocorico mix has shimmering vocal sounds stitched into the arrangement and the original has a spooky, rather eerie feel with its hurried drums and squirrelling synths. 'Lost In 1st Avenue Loop' is a gritty Detroit house cut with heart of the dance floor intensity and 'Microdot' gets as twisted as you would expect of such a track title. A fine debut EP overall.

Review: Toothpick aka Swirl People step out with their newly entitled label Lost In The Swirls, which they have distilled to the more simple name L.I.T.S. Records. The Belgium-based project is an alias of Dimitri & Raoul and they bring fresh house sounds here even though this is a reissue of some classic 90s material. The title track has lush and bright summer pads over driving, tight kick drums. The opener 'May The Funk Be With You' has a classic UK flavour to it with woodpecker-like hits and dusty drum loops under some smart chord work. Last but not least is 'Naked Speedway' which has a warm bassline meandering below expansive chords that bring an early morning vibe. Good stuff.

Review: While most party DJs lament their wedding gigs while lauding their fun cool jobs, Wedding Acid Group - the openers of this latest V/A by Undersound Recordings - marks a point of going beyond mere cultural Stockholm syndrome, not just making light of our matrimonial masters, but redirecting those cheugy energies into a killer beatific-corrosive intro.AThen come three more riveting uplifts of a blissful and bouncey variety, from 'Do As I Say' by Albert Ess to 'Singlestranded' by Systelman to 'Love2' by J. Mono, seguing from industrial anvil clankage to a nightbus-bound house closer.

Review: One Eye Witness rounds up another four acts for their periodic V/A series, spewing forth four breaks-driven whooshers crossing into progressive techno territory. The Hague duo Young Adults nod to a 1997 Loveparade anthem with 'It's Only Temporary', while breaks and kick implants converge on Christopher Ledger's 'Change That', a track which sounds like the starting firings of an interplanetary expedition pod after years of disuse. Joely brings cosmic chug on the cocooning B1 'Transitional', while the Samesame closer 'Novel End' is just that, traversing a noxious atmosphere with a flexoskeletal electro beat.

Review: Kyle Hall and Steven Julien have been working together on and off for a whole decade now as Funkinevil. To mark the occasion they have pulled together their first two releases - namely 2012's 'Night / Dusk' and 2013's 'Ignorant' - on one new double album that very much sums up their raw house sound. The Detroit-London duo draw on plenty of their hometown's signature aesthetics, from well swung drums to soulful synths, and the results are still fresh sounding and captivatingly deep. Importantly, all these years later, there is still real emotional punch in these tunes as well as damn good grooves. Essential stuff from this vital pair.

Review: 'PULSE 01' is the first release in PITP's new series, which is an ongoing exploration of ambient tech, while offering a more structured display of beat-driven ambient music. Pulse 01 features brand new tracks by SYNE and Influx.

SYNE is Dennis Huddleston from the UK, who is most recognized for his ambient work as 36. He returns to his SYNE alias for the first time in nearly 5 years, with only his second record since his 2017 self-titled debut LP.

'Dystalgia' is a 12 minute opus, spread over 3 movements. Soaring pads and razor sharp percussion combine for a dynamic, emotionally charged journey in sound. Showing love to the Detroit greats, but recognising the distinct UK influence which made him fall in love with Techno in the early 90's, it's a surprising pivot in Dennis' sound and one which all lovers of beautiful, melodic ambient techno should enjoy.

Influx is the techno/acid/trance moniker of James Bernard. With his first release in 1993 (Braineater EP on Sapho Records), Influx is no stranger to techno and acid. This project had been in hibernation for nearly 14 years until his 2021 remixes for his collaborative album with 36 and awakened souls (The Other Side of Darkness). Revel Dub is a dub-techno excursion with sprinkles of ambient and psy-trance rounding out the frequencies. The Slow Version dials back the tempo to half-time and travels to more ambient dub territories.

Review: 'PULSE 01' is the first release in PITP's new series, which is an ongoing exploration of ambient tech, while offering a more structured display of beat-driven ambient music. Pulse 01 features brand new tracks by SYNE and Influx.

SYNE is Dennis Huddleston from the UK, who is most recognized for his ambient work as 36. He returns to his SYNE alias for the first time in nearly 5 years, with only his second record since his 2017 self-titled debut LP.

'Dystalgia' is a 12 minute opus, spread over 3 movements. Soaring pads and razor sharp percussion combine for a dynamic, emotionally charged journey in sound. Showing love to the Detroit greats, but recognising the distinct UK influence which made him fall in love with Techno in the early 90's, it's a surprising pivot in Dennis' sound and one which all lovers of beautiful, melodic ambient techno should enjoy.

Influx is the techno/acid/trance moniker of James Bernard. With his first release in 1993 (Braineater EP on Sapho Records), Influx is no stranger to techno and acid. This project had been in hibernation for nearly 14 years until his 2021 remixes for his collaborative album with 36 and awakened souls (The Other Side of Darkness). Revel Dub is a dub-techno excursion with sprinkles of ambient and psy-trance rounding out the frequencies. The Slow Version dials back the tempo to half-time and travels to more ambient dub territories.

Review: Omar S and Shadow Ray hooked up back in 2005 as Oasis and turned out a low key classic with Collaborating. It's an essential double album packed with signature Motor City heat and dishevelled deep house workouts for mind, body and soul. Things open with the slow paced crawler 'Oasis 4' then take in 'Oasis 11' with its pinging percussion and stripped back grooves, the standout 'Oasis 1s-1/2' with its gorgeously melancholic synth bleeps and heart melting chords and the darker energy of 'Oasis 7'.

Review: EXPERIMENTAL/ELECTRONIC: M=Minimal come through with an excellent vinyl accompaniment to their recent CD of reworkings of Conrad Schnitzler's Zug from Ricardo Villalobos and his Fisherman's Friend, Max Loderbauer. At over 19 minutes, the Aktion remix just about fits on this twelve inch and sees Max and Ric adopt a club ready approach with a stripped back, heads down groove driving forward through a slightly unnerving, guttural re-appropriation of Schnitzler's alien synth textures. Adopting a more ominous and wholly experimental tone, the Sorgenkind mix sounds vaguely like a heavy breathing bull pondering the surrounding expanses of shifting dronal textures as you wait in vain for anything approaching a beat to surface. Download codes are included.

Review: New Interplanetary Melodies is a great name for a label and it also sums up the sounds of this new album from Sindaco. It's a beautiful mix of exploratory soundscapes, organic percussion and lush melody that unfolds in charming and captivating ways. Found sounds add more real world details to these tracks which range from lazy downbeat jaunts on a wide open savanna to more dynamic deep house trips through the cosmos. Worldly percussion, exotic melodies and unique instruments are all deployed to mark for multi-layered tracks that work equally on brain and body. It makes for a triumph of a record that is experimental yet aborsbing and packed with great detail.

Review: Norm Talley returns to his Upstairs Asylum label alongside fellow US house pioneer Delano Smith for Straight Up No Chaser, an eight-track opus featuring four solo cuts each. Talley's gritty, dubbed-out, low-rolling house style is present and correct throughout with the loopy chords of 'Blak Bottom' getting things going, 'The Flip' getting more cavernous and aqueous and 'ISO Vision' leaning into dub techno. 'Believe It' is a soulful deep house looper, while Smith gets bubbly with 'The Bassline', lays down thumping kicks on 'Travels 23' and his trademark synth smears on 'The Drive' while 'Remembrance' is a heady dub house cut that locks you into a state of perfect hypnosis.

Review: Dutch industrial techno producer Parrish Smith created Light Cruel & Vain over the course of nearly three years. Each track on the record was originally conceived solo, then further realised with the assistance of contributing musicians Sofiane Brahmi and Javier Vivancos. The collaborative where no studio sessions occurred due to the pandemic - the full collaboration conducted remotely. Notable tracks include the seething post-punk swagger of "Black Scarlet" or the brooding industrial rock of "Sway", to the industrial strength breaks of "Never Break Faith" and a frantic techno banger towards the end "I Wanna Be An Idol".

Review: After being commissioned to produce several 'interlocking' ambient pieces for an art gallery piece in LA, Brian Foote and Sage Caswell decided to take the concept of 'audience crossfading' to the next level, creating an entire ambient album using a particular sonic technique. Over five long pieces from 'Waterwheel' to 'Smiley', their aim was to evoke the feeling of bodies moving in thoroughfares. The tracks are long-exposed movements captured in ambient space, blending rhythms and soundscapes for chillout rooms that exist only in memory now.

Review: Voices In My Head is a time capsule from the house music golden year of 1992. Crafted by the genre-bending trio Some Other People aka Mark Lord, Matt Frost and Steve Jueno, the album is a dynamic blend of deep house, tribal rhythms and breakbeat with bleepy electro and techno that all make it a heady listen as well as a physical one. Each of the eight tracks feels vital and distinct and was born from a studio process that was as spontaneous as it was inspired. Now reissued for the current prog revival after originally being released on their cult UK label Infinite Mass which once rivalled even Warp Records, it features lost gems like 'Ghost House' and 'Orbitality'.

Review: Peter Kersten, better known as Lawrence, is the veteran deep house producer and gallerist who many of you may know as chief of Hamburg's Dial Records and who made external outings previously on Japan's Mule Musiq where he released several lauded long-players. His latest one comes courtesy of Berlin's Sushitech entitled Earthshine, a 3XLP featuring 12 tracks written and produced by Kersten over the last five years. All in all it's a diverse selection put together by one of the scene's most highly regarded artists.

Review: Stiroll's Sofia marks the Ukrainian artist's return to Greyscale Records with his first full-length album, painting a sonic portrait of a day in the life of a suburban area. The album invites listeners to experience the subtle intricacies and layered sounds of a community awakening, bustling, and finally resting as night falls. The journey begins with 'Intro - Dusk,' a brisk and atmospheric opener that evokes the early morning stillness before a city stirs to life. The full chord remnants and distant echoes set the stage for the day ahead, capturing the anticipation of the morning. 'Standbye' follows, offering a more airy and purposeful vibe, moving away from minimalism to suggest the first signs of activity, as if the world is slowly beginning to wake. 'Foundamental' continues this progression, riding along with gentle sounds punctuated by flares of static, hinting at the humidity and energy building in the air. The track flows effortlessly, mirroring the natural rhythm of a day gaining momentum. As the day matures, 'Sequence To None' introduces more serious, conflicting chords, perhaps reflecting the push and pull of daily routines and interactions. The crisp production and deep bassline ground the track, offering a sense of structure and direction. Midday arrives with 'Vidlunnia,' a sparse, downtempo piece that feels like basking in the warmth of the sun. The chords wash over the listener like rays, creating a relaxing, chill-out atmosphere with a broken rhythm that invites reflection. The pace slows with 'Interlude - Fall Moon,' where a churning, almost mechanical heartbeat drives the track forward, building tension as the day begins to wane. The ominous mood that emerges in the second half hints at the challenges that often accompany the close of a day. 'Nulle Part' shifts the mood with a more pronounced beat, offering a straightforward yet catchy rhythm that feels both harmonious and conflicted. The hypnotic quality draws you in as it moves toward a positive, yet complex resolution. 'Fall Control' then soothes with heavily processed sounds, offering a brief moment of respite before the album's closing tracks. 'Hope' stands out as the most original dub track on the album, blending strings with a lofty melody that soars before plunging into deeper, more uncertain territory. The track feels otherworldly, capturing the complexities and contradictions of hope itselfia fitting theme as the day begins to wind down. Finally, 'Outro - Dawn' signals the end of the day and the album, with ambient washes that gently alert like a clock, leaving the listener with a sense that it is time to close. Sofia is a meticulously crafted album that encapsulates the ebb and flow of daily life in a suburb, bringing together the sounds of different people and languages into a unified, sonic narrative.

Review: Astonishingly, 23 years have passed since Glenn Underground and Boo Williams established the Strictly Jaz Unit project, a fluid collective of underground Chicago deep house producers. These days, SJU mainly operates as a duo, and it was this stripped-back line-up that produced "The Tempest", a rare album-length outing bristling with quality cuts. As a whole, the album is far more intergalactic, electronic and sci-fi sounding than either man's solo productions, with just a few hints of the luscious instrumentation and swinging grooves associated with their previous work. There's no dip in quality, though, with the dubbed-out deep house hypnotism of "Heard Syndrome", the Patrick Cowley/Giorgio Moroder influenced "The Struggle", the Chicago-goes-Yorkshire bleep flex of "Time of Speed, Not Day" and acid-fired gorgeousness of "The Flat (London Projects)" standing out.