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Review: Arutani's third album Who We Used To Be is a meditation on times passed and alternate lives lost, filtered through the decorative lenses of deep, minimal, tech and dub. As if to paint a character portrait of the artist himself, this is a measured, calm, light, mindful and modest album, replete with bulging concave chord undulations and synaptic percussive snaps for balance. Everything from electro's usual dotted rhythmic pattern to progressive house's woodblocky felicities are checked off here, plus the glissando'ing lead on 'In Case You Wondered What I've Been Doing' is a special highlight.

Review: B12's 1993 debut album, Electro-Soma, has long been regarded as one of intelligent dance music's "must-have releases". Offering a decidedly intergalactic blend of otherworldly techno, ambient and deep space electronica, it remains a brilliant piece of work. Here, Warp Records give it the reissue treatment, packaging the peerless original album with a second disc of early B12 rarities and hard-to-find cuts recorded during the same period. There's naturally plenty to admire on this bonus disc, from the shimmering electro bustle of "Transient Pathways" and Motor City futurism of "Debris", to the intoxicating ambient brilliance of "Go With The Hiss". That this material is every bit as good as the tracks included on Electro-Soma is testament to the (then) duo's rarely matched brilliance.

Review: Dark Entries welcome back the inimitable Doc Sleep aka Melissa Maristuen for a superb new album of ghostly and ethereal house and techno. This is a welcome follow-up to last year's ambient and IDM exploration, Birds, and shows another side that draws on Maristuen's years of queer clubbing. It fuses aspects of New York house, Berlin techno and West-coast breakbeats and is "a love letter to the West Coast's magnificent natural landscape, the light of the Pacific sunrise." That is reflected in the sublime synths and silky rhythms which manage to both move your body but also captivate your mind. It's another cracking album from the Doc.

Review: Without a doubt, one of the most anticipated reissue compilations of the year is this collection of Future Sound of London side projects. In 2007 this was a CD-only compilation of early 90s tracks as well as unreleased ones from the same age. As the lore of FSOL continues to grow over the past 30+ years, their side projects have gotten more and more attention from the people who love those early rave sounds. Now for the first time, a vinyl version of it with no less than a 3x12 to harness all this early 90s techno goodness. All the tracks are by Dougans and Cobain and the aliases are the same. This 2007 album however has a wealth of new material from the same time period as Earthbeat. It is amazing that one release like this by two producers can be such a prime example of the UK sound that changed dance music forever. If you want the 90s UK rave reissue of the year, here it is!

Review: Prolific Lithuanian dub techno explorer Grad_U is back with a new album which further develops his explorations in realms well beyond the limitations of the dancefloor. Spectral Decay examines all manner of spatial processing, not to mention celebrating the power of the space between the pulses. There are still some steadfast technoid rhythms to latch onto, but the beats are always secondary to the atmospherics in Aleksandr Martinkevic's immersive productions. With a couple of remixes from kindred spirits such as Dominique Jacquinet and Ohrwert Alter folded in for good measure, this is another essential trip into the echo chamber from a master of the craft.

Review: Jack Bags is back on La Sabbia with volume two of his Panorama Groove series. Once more he flies through a mutant mix of electro and techno in his own singular style. 'Another Acid' is first out of the blocks and layers up gurgling 303s with dark and sleazy vocals over a fat mid-tempo groove. 'Gently Glide' does just that with a more serene atmosphere, silky chords and ice cold drums - it's a super nice tune for late night grooving. Elsewhere are the likes of the grubby 'Ground Control', the Chicago jack of 'In My Mind', twisted and sludgy electro-techno motions of 'Operating Base' and the futurism of the more stripped back 'Underbush'.

Review: The seminal musicians who have graced King Biscuit Time on US radio are too many to count, but who's complaining when so much gold material can be dusted down and given a fresh pressing. They surely don't come more momentous than this - German electronic pioneers Kraftwerk captured in 1975 as they were in the midst of progressing from their warm, organic kosmische roots towards the game-changing synthesis they're eternally treasured for. 'Autobahn' is of course the big hit here, stretching out over the A side as it should, but don't overlook the wonderful 'Kometenmelodie' and two-part 'Morgenspaziergang', all demonstrating Schneider, Hutter et al as the extraordinary visionaries they were.

Review: Peaktime zoneouts from Rodhad and company; Crimson Rubeus is the first compilation on WSNWG to be curated by the techno titan, and hears eight rising bubblers of the scene contribute to a well-rounded octagonal sonic prism in double LP form. All circulating for months in demo form and as fixtures of Rodhad's sets across Europe, every track here - from the snappy synaptics of Nastia Reigel's 'Limit Y' to the non-duped beffudlery of O (phase)'s 'Exiting The Delusion' - drips with an aural crimson rouge; truly a hematophage's dream. Rodhad does the almost impossible here; squeezes blood from the stony style that is hypnotic techno.

Review: Mysterious techno artist Rrose presents their first ever CD release, and their second full-length project to date. Following 2019's Hymn to Moisture, Please Touch features 11 slippery slinkers, flaunting Rrose's penchant for hypnotics and minimalisms; the likes of 'Spores' and 'Spines' refuse to indulge too many novel sounds, preferring to allow their more immersive textures to rattle and ricochet over each mix, producing a delugey wash. Thematically, the LP deals with themes of touch, intimacy and embodiment, doing some of the work to bridge the schizophonic gap that's remained open since the dawn of recorded music.

Review: Cologne's legendary Kompakt label has been rolling out these superb compilations for many years now. The 23rd instalment is another fine snapshot of the more matter and grown up end of the tech, minimal and techno spectrum with plenty of familiar faces as well s new school stars. Boss man Michel Mayer opens up with the bright melodies and swinging grooves of 'Talmi' before Jurgen Paape keeps it deep and delicious with more easy going grooves and keys. Elsewhere a Sofia Kourtesis remix if Perel brings more dancefloor ready sounds and Reinhard Voigt's 'Endlich XXL' (feat Eduard Weber) is a freaky one for the afters.