Back catalogue: Minimal/Tech House

Review: Marvin Dash and Lowtec combine to serve up some house grooves here that perfectly embody the Workshop sound. They are lovably loose-limbed, dusty and ramshackle, and almost feel as if they may fall apart at any given moment, but that is the joy of them. Instead, they keep you locked amongst rickety drums, frayed pads and imperfect little vocal hooks that bring the soul. 'Track 1' does that with a hazy feel, 'Track 2' is more one out with a dubby undercurrent and sustained keys and 'Track 3' brings little more prickle and drive, like a super raw Omar-S track. 'Track 4' is all about the prying, bulbous bassline that unfurls with a mind of its own beneath DIY percussive sounds.

Review: Sushitech never serves up anything less than high-class tech, house and dub and that is once more the case with the latest reissue project. This one turns its attention to a 1999 gem by Land-based Get Fucked. Originally dropped on the Eukahouse label and soon beaching a cult classic of the new millennium, it now arrives on a fresh 10" in two different forms. Up first is 'Dreams Are Made' Sweet Mix which is stylish deep tech with muffled vocals and heady pads, then Kenneth Graham brings his 'She Likes To Ed-It remix' to the flip and makes things even more deep and dubby.

Review: The always-cultured Sushitech is back with another of its well-chosen reissues, this time focusing on the London-based Get Fucked. These tunes dropped in original from back in 1999 on Eukahouse and have since become cult classics. First is an unreleased Sweet mix of 'Dreams Are Made' which is lush, dubbed out tech with some magnificent jazz chords. On the flipside, Kenneth Graham steps up with his She Likes To Ed-It remix which is silky smooth and hypnotic for late-night zone-outs that will lock in the real heads. This is a superb limited-blue splattered vinyl that looks as good as it sounds.

Review: As are many a contemporary eupho-breaks artists, mysterious rave artist Inner Lakes (a favourite of the likes of Art Of Dark, Junction Forest and Earth Dog) is apparently obsessed with notions of ecstasy and endo-stimulant energy, and his new topup for Timeless' catalogue is no exception to this rule. With the rulebook part ravaged and part preserved in formaldehyde, 'Dr4go' and and 'Konga3' indulge rah-inducing, wackout vocal experiments of a hyperactive calibre, and the A-side is especially creative in this regard, its impactful verbiages smeared over stretch-delays so obscure that we're left to interpret - rather than force the recognition of - what has just been said. "Its my... grah!?"

Review: Endell Street returns with a strictly limited 10" that features some rare gems that were originally produced back in the early 00s by Timmy S. Plenty of heads will know these have been expensive to cop on the second-hand market but now they have been restored and remastered by Yossi Amoyal in collaboration with Eukahouse's Nils Hess. Deep tech house doesn't get more authentic than this with the slick, driving drums and nocturnal pads of 'Wake Up' and the more percussive darkness of 'A Trip To London' both sounding superb.

Review: SnPLO hears Bay Area "hazy leftfield club cut" purveyor PLO Man entertain an outlet for more irreverent productions. He also might just be your local gaffer's favourite techno artist, with most every release so far connoting exposed circuitboards and copper micro-components in its imagery (visit https://tracksplease.com for a visual lowdown). New EP 'The Cocaines', though, breaks from this trend as a manic and nonsensically charged homage to the white stuff: the third EP on his Pin sub-imprint, it brings burbling, vocal tract emulative minimal techno sound design and sniffy post-dub jolters ('C') to white wax, and that's not to mention the eccentric liner notes: "Slightly Goldeneye yeah cause it was the inhanced highlight the bluer graphic is a bit low rez but i think it was just always that way Adds to the sketchy how does it feel takin em for a drive? dude the 10" like outlined. Seductive."

Review: The Top Secret label keeps things tight once more with a pair of very different jams, but both are going to get huge reactions when dropped at the right time. U first is 'Get Criminal' which is a rework of an MJ classic with his smoky vocals reusing by scene else in a more unsettling fashion and the original drums run through with some futuristic and molten melodies. On the flip is 'Eurotrance', a good old-fashioned piano rave-up with belting vocals, trance synths and euro dance drums. Lovely, fun, accessible and effective.