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Review: Secondo unpacks the scissors and whittles everything the song gives.

Review: As Radiohead tour the world and then regroup to record their new album, Thom Yorke releases his own record, 'The Eraser' on XL Recordings. A collection of nine new songs, the record was written and played by Thom and was produced by Nigel Godrich. Variously hailed as "The Best Band In The World" (Q Magazine), "Rock's Best Live Band" (Rolling Stone) and the band were placed at number 1 of Spin Magazine's 40 most influential artists, Radiohead has arguably become the most acclaimed and adventurous force in modern music. Over six studio albums the group have proved that it is possible to make massive creative leaps whilst continuing to grow in worldwide stature. Their records set new benchmarks for others to aim towards, whilst their live shows reach levels of intensity and exploration that few can match.

Review: Minimal electronic house tour de force here as Border Com's James Holden teams up with the UK's Jon Tye (aka Milky Globe) here on the A-side, while on the flip Nathan Fake and Milky Globe join forces for the Dusty Cabinets mix of "Lava Flow". The "Sun Spots" cut is a deep slice of electronic dub combining Holden's ever-shifting palette of abstract tones and crisp percussion. "Lava Flow" takes Nathan Fake's signature keyboard work and stretches it out over a sweet low-end groove.

Review: Who ever has been to Aix En Provence on the Mediterranean in France, will find it hard to stop rhapsodizing about it. For towns like Aix they invented the word picturesque. This colourful and quaint beauty makes us sulky-grey metro-Berlin people's eyes bleed. Nevertheless Mary Jane (aka Bloody Mary) swapped the cours Mirabeau with the Berlin TV tower and shows the big city where it's at with her dusky-deep minimal techno. This could not remain undiscovered very long, because Bloody Mary is mixing her ingredients of deep basses, profoundly buzzing sound-effects and bleeps with such a precision, that you get pitchforked onto the dancefloor right away, where standing ovations take turns with tumultuous dance-scenes. The record has been co-produced by Tassilo Ippenberger, also known from his Pan-Pot Project on Mobilee Records. Three tracks, that don't leave any question unanswered and match with sender perfectly. And Mary, don't worry, you will also survive you first Berlin Winter.

Review: Superb new 4 track EP from Germany's Move D (aka David Moufang of Source Records, KM20, Warp, Liebe*Detail). If you remember his legendary "Kunststoff" album and all his warm analogue techno, house and deep ambient works and you may will have a deja-vu. Pure class!

Review: The first two instalments of the brand new AM/PM 12" series guarantees a level of quality to all those converts to The End. With a soon-to-be-legendary performance coming up inside the crumbling glory of the east end - the fantastic Wilton's Music Hall - alongside fellow dust botherer Janek Schaeffer, Radovan Scasascia's increasing prominence on the live circuit promises further thrills galore. Radovan continues here in the same realm as with the acclaimed 'Also' EP. The source material here still comes from a carefully selected palette of final moments and last breaths of found recordings. The arrangements let them move in and out of time, creating mesmeric chance compositions, micro-tonal disharmonies and that typical AM/PM warmth. A total of four 12" releases are scheduled building up to a CD album due for 2007. Extremely high quality as always.

Review: What the fuck is this? It's the new record from that well known and more than exceptional artist, Jochen Heib. His puristic, sexy-cool funk beats are pure acid - without the 303. Music that is analogue and old school in the best of ways. Heib plays with references to history without coming across as being retro.

Review: So the legend goes like this: Jeremy Herpe (aka From Karaoke To Stardom) saw Alex Under playing in Paris. From that moment he knew what he wanted to do - make music. A few months later he had his first release! This young French producer is one of the most talented newcomers in the techno world.

Review: Poker Flat presents "Moan", lifted from Trentemoller's incredible debut album "The Last Resort".

Review: In 2007 Juno Records is ten years old, and we've decided to celebrate by releasing 10 singles throughout the year. Each one is a classic dance track featuring new remixes from the some of the most exciting and established names in the business, including Julien Jabre, Spirit Catcher, Dimitri from Paris, Lindstrom, Troy Pierce, Cobblestone Jazz and many more. These releases will initially only be available from www.juno.co.uk and www.junodownload.com. To launch the series we have pulled out all the stops with the re-release of the timeless "In The Trees" by Faze Action, featuring remixes from the legendary Carl Craig and Jerome Sydenham & Tiger Stripes, as well as the brilliant 1996 original mix. A genuinely huge release, this could be the first of 10 future classics! ***Stop press 19/12/07: the Carl Craig mix has been voted #3 in residentadvisor.net's "Top 5 Remixes Of 2007".

Review: It is with immense joy that we present for the first time on Musique Risquée the Montreal/Argentinean duo Chic Miniature, composed of Ernesto Ferreyra and Gabriel Coutu-Dumont. They bring their EP, "Poco-A-Gogo". As their alias so aptly reveals, Chic Miniature fabricates intricately sculpted little gems, finely crafted works that unravel like finely woven lace. Their delicate structures and warm spellbinding melodies trigger rich imagery while fervently rousing the desire to groove. "Chanchita" plunges us directly into an electropical jungle where fractured voice and percussion bustle around an elegant succession of elements woven into a slow progression both organic and sexy. An aural oasis. The warm and sensuous piece, "Kimono", will leave no trace of indifference. The magnificent and obscure quasi-mystical Latin melodies, the unmistakable signature of Chic Miniature, reveal an immense sensitivity and sensuality. All is strung together by a solid rhythmic structure that will surely move your feet before the information even reaches your brain. "Kimono" invites us on an expedition through the furrows of certain unknown sombre terrains, such as an unmarked seductive mirage at the heart of a dessert where anything can transpire. A classic.

Review: Omar S brings "The Grand Son Of Detroit Techno!". This amazing, deep and hypnotising house track features live percussion from Theo Parrish.

Review: German born DJ, producer and remixer Matthias Heilbronn relocated to Brooklyn, New York, to become Frankie Knuckles' roommate and to fully focus on his musical career. His "Jungle Dub EP" on Poker Flat reveals the more techy and reduced side of his musical creativity, with groovy and hypnotic bass-loops.

Review: Audiomatique are happy and proud to present "The Trentemoller Chronicles". This new double album is not a new studio album, but an overview of Trentemoller's impressive body of work. "The Trentemoller Chronicles" include Anders' personal selection of his best songs and remixes, which have only been available on vinyl or on compilations, as well as some new and exclusive songs. This is an essential piece of minimal/tech house.

Review: Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand. Yet despite this, his music speaks loud and wide, and the world has been listening ever since his 'South London Boroughs' EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many 'best of' polls. Now Burial returns with 'Untrue', a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with the debut's crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Kicking off with the skittering 2step syncopations and vocal science of 'Archangel', 'Near Dark' and 'Ghost Hardware', before long it descends into a space of radiant divas and ambience. Where 'Burial' first was humid, suffocating and unrelentingly sad, 'Untrue' is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria typified by the epic, muted optimism of the album's last track 'Raver'. Forget central heating the radioactivity of this album is all that you'll need to keep you warm this winter. 'Untrue' is available as full 13 track digipack CD, including recent underground hit 'Ghost Hardware', and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.

Review: Original live techno duo, System 7 stamp their mark on the dancefloor once again with their new single on A Wave, 'Space Bird', lifted
from their forthcoming album, 'Phoenix', which opens the label's musical account in 2008. Just starting to escape on promo, this buzzing
atmospheric instrumental sees System 7 push the envelope for a minimal sound that embraces trance in truly hypnotic dancefloor style.
'Space Bird' is the first of the two Jam El Mar collaborations on the new album, and straight out the trap is man of the moment, Dubfire's
excellent minimal trance and brooding tech house remix. Liquid Soul toughens it up with a charged, stripped-down affair that rocks the floor,
fuelled by spacey loops; and rounding off is the original version. Its chunky beats underpin the seductive musical loops building into a
full-on floorfiller that's about to start ripping up floors in Europe.
System 7 continue to defy constraints of the 'trend' side of the music scene, having appeared live at a large number of festivals this year.
Highlights include playing twice at Tokyo's Nagisa Festival, this year with Derrick May and Joaquin Joe Claussell; another mighty appearance
at the Glastonbury Festival West Dance Tent in June with A Guy Called Gerald & Trentemoller; the Main Stage at the Glade Festival with
Longrange, Digitalism & Richie Hawtin; as well as Italy's Sonica festival, Harmonia Festival in Spain and Devon's Waveform event with
Eat Static & Banco De Gaia.

Review: 'Les Gans' out on Musique Risquee, is the first of the two singles taken out from the stellar album 'Face a L'est' by Guillaume & the Coutu Dumonts. On the A side, you'll find the original version of 'Les Gans', a beautifully crafted moody house tune. It's melancholic but none of the less cheerful tone provides the listeners with a feeling that tomorrow might not be so dark after all. 'Les Gans', with it's afro jazz sensibility, represents the underlying theme of Guillaume & the Coutu Dumonts album Face à l’est. Organic drum patterns topped by a persistent saxophone line (played by [iks] saxophonist Sebastien Arcand Tourigny) result in a complex composition that unfolds slowly, leading the minds into profound hypnosis. On the B side, Audio Werner (Hartchef, Perlon, Hello Repeat) takes us deep into his foggy mind. Known by the public for his versatility, it's the first time he dives so deep into the dubby side of things. Setting the mood with the most massive bass ever, he then proceeds to reveal all the elements slowly over an amazing 12 minutes of pure delight. As an answer to the original melodic line, Audio Werner brings in the saxophone of Hayden Chislom, collaborator of Burnt Friedman and member of Root 70. The result is pure pleasure and Musique Risquée is now happy to share it with you

Review: James Blake's debut album is undoubtedly one of 2011's most keenly awaited releases, and its arrival via his own (major label funded) Atlas imprint ensures their is no lull in momentum for a producer who enjoyed a watershed 2010 with releases on Hessle Audio and R&S. The results here differ wildly from his previous sonic excursions - gone are the shimmering R&B soaked melodies of "CMYK" and the sheer experimentalism of the Klavierwerke EP, which saw the young Londoner depart from the confines of the dancefloor and enter a realm where there was only a passing reference to rhythm-based music. Instead we are treated to Blake's own yearning, raw voice, delicate pianos and an underlying sense of melancholy. Ubiquitous single "Limit To Your love" and the crackly sonic terrain evoked on "The Wilhelm Scream" are among the most immediately pleasing moments, but there is much to explore here. It's a fascinating opus and surely the catalyst to a long and fruitful career at the top.

Review: For those who dig what was once called progressive house, the Balance series from Australian label EQ has always been a "must check". Most contributors tend to push the boat out, resulting in deeply melodic and otherworldly sets that blur the boundaries between true mix and full-on production. That's certainly the case here, as Spanish DJ/producer (and part-time TV sound designer) Henry Saiz carefully crafts two discs of prog-not-prog blissfulness. Saiz's sound is based on the fusion of IDM electronica and shuffling, early morning house, and that's the overriding theme here - giving the mix an enjoyably fluid sound and style.

Review: When is a remix album not a remix album? When it's creatively driven by Bjork. The wonderfully titled Bastards might be a collection of reversions from her 2011 album Biophilia but it's clear all artists have been specially considered for their job and worked hard to subvert their usual motifs; stretching from the warped techno twists of 16-Bit's take on "Hollow" to the ghostly acapella of These New Puritans remix of "Mutual Core", this is one bastard you want in your life.

Review: Originally released in 1996, Aphex Twin's fifth album in as many years meant business from the very moment the wild and whimsical opener "4" scribbled it way through the speakers. With jaunty jams such as "Cornish Acid" and "Fingerbib" running amok mid-set, Richard D James Album acted as a fine mission statement to expect the unexpected and never anticipate formula or form. And it still carries that very same message today. Essential.

Review: Though his career has taken many turns over the last decade, DJ Koze has remained that most illusive of creatures: a minimal-minded producer with an ear for a melody. This fourth full-length, packed to the rafters with big-name collaborations (Apparat, Caribou, Ada and Matthew Dear all feature), continues his move towards the home-listening sphere. So, while many of the heady rhythms and shuffling grooves hark back to his stripped-back past, Amygdala impresses with its woozy songs, genre-straddling fusions (see the modern soul meets deep house of "Homesick" or the steppy, tropical vibes of "Marilyn Whirlwind") and homely atmosphere.

Review: ** Repress of the reIssue ** Ooh if there's ever a deep house history lesson wrapped up in a 12" then it's this reissued Stomp The Beat EP from Gherkin Jerks aka the master Larry Heard. The Gherkin Jerks project originally surfaced back in 1988 with this 12" on the Chicago based Gherkin Records label, released anonymously at the request of Heard himself who viewed the Gherkin Jerks material as a creative experiment. Later revealed as the work of Larry Heard, original copies of Stomp The Beat rack up a pretty penny on Discogs so it's good work all round that the producer's Alleviated Records label has teamed up with Clone to release a digitally enhanced version. From the mind bending stereo panning of opening track "Don't Dis The Beat" it's easy to see why the Gherkin Jerks material has been so widely praised - Jamal Moss is a big fan - whilst the general off-key melodics and tough 909 arrangements of what follows still sound futuristic some 15 years on.

Review: Released back in 2003, Rounds was the third LP from Kieran Hebden as Four Tet and perhaps the first long player that widely established him as a pioneering voice within electronic music. Though it doesn't feel like a decade since it was released, Domino celebrate the album's tenth anniversary in requisite fashion here, reissuing it in double LP format and slipping in a CD of Four Tet performing live in Copenhagen in 2004. Listening back now, it's easy to understand why Rounds is viewed as an early classic in the Four Tet canon, transferring his love for free jazz records to a beat template that's more palatable on the ear (Fact pickers might want to know that Hebden recently revealed to Pitchfork the LP was made entirely from samples) "She Moves She" still sounds absolutely haunting too!

Review: Given that it's been eight years since the last Boards of Canada album, Tomorrow's Harvest should, by rights, push Daft Punk's Random Access Memories in the hype stakes. Certainly, it's a fine set. During their sabbatical, Marcus Eoin and Michael Sandison have lost none of their power to amaze and impress. Chords drone, samples hiss, synths shimmer and beats swing. There are intense ambient moments and intoxicating, post-IDM dreamscapes. It is in turns icy, warm, introspective and blindingly picturesque. Throughout, Tomorrow's Harvest is impeccably atmospheric, conjuring images of windswept Scottish moors, becalmed Cornish bays and maudlin pagan ceremonies. As comeback records go, it's pretty darn good.

Review: Widely regarded as Boards of Canada's finest hour, Music Has The Right To Children finds itself the subject of a well-deserved 2LP gatefold reissue from Warp Records. One of the most defining records of what was known for better or worse as IDM still sounds as timeless as it did in 1998, as the library tones of "Wildlife Analysis", thick downtempo rhythms of "Roygbiv" and out of focus melodies of "Olson" prove. Essential!

Review: When it comes to a reissue such as this it can't be understated just how arresting the work of Boards of Canada can be in the right situation. This EP, that came to light in between Music Has The Right To Children and Geogaddi, represents the enigmatic duo at their most powerful, channeling their energy into four long-form tracks that draw on all of their combined strengths. "Kid For Today" is haunting and dark but utterly heartbreaking, whilst "Amo Bishop Roden" heads into more mysterious territory. "In A Beautiful Place Out In The Country" is eerie in its titular invitation to join a cult, and "Zoetrope" tips its hat to Terry Riley et al in its looping phrases, but really there's no describing the magnificence of these gems, pleasingly reissued on vinyl to beat the Discogs chancers.

Review: Like Father, Like Son sees Big Strick and his prodigious son Generation Next team up for a split 12" showcasing this pair of criminally underappreciated Detroit producers. "Rain Dance" sees the elder of the two deliver a deep techno journey filled with abstracted textures and organic chimes that sound, while the young Generation Next shows a remarkable maturity beyond his years on "And You Too", where sparse, subtle chords and the simplest of melodies drift by on a light rhythm. On "Like Father, Like Son" the two pair up for the most gently uplifting of deep piano jams. Just like pretty much everything on 7 Days Entertainment, this is some nigh on essential material.

Review: With a wealth of modular techno and experimental sounds to his name, Ralph Cumbers is a prolific producer by anyone's standards and he seems to be going through a particularly productive spell of late. As well as records on PAN and Public Information being announced recently, last year's excellent Acid Tracts cassette has now been reissued on vinyl thanks to the Alter label overseen by Luke 'Helm' Younger. Fans of Bass Clef's under rated Punch Drunk LP Reeling Skullways are encouraged to investigate here, as the potential shown on that album is opened up in glorious fashion across wider stylistic spectrum. Already an album filled with witty track titles, this vinyl edition comes packing an extra previously unreleased one in the shape of "Music Sounds Better Without You".

Review: Although the past several years have seen ambient musician Christian Fennesz collaborating with a number of high profile figures - Ryuchi Sakamoto to name one - as well as release an EP, cassette, and soundtrack, the Austrian's last full solo LP was 2008?s Black Sea, making Becs very eagerly awaited indeed. A conceptual follow-up to 2001's seminal Endless Summer, Becs supposedly eschews the drone-based productions of Black Sea and sees a return to the "more florid pop mechanisms" of Endless Summer, something evident across the searing yet colourful textures that make up the album.

Review: Multidisciplinary artist Fatima Al Qadiri aligns with Hyperdub to release Asiatisch, a keenly anticipated debut album that's described as a "simulated road trip through an imagined China". First coming to prominence on the UNO label in 2011, Al Qadiri has subsequently provoked critical acclaim for the 2012 Desert Strike EP for Fade To Mind that played on her time spent living in Kuwait as a child, while her work under the Ayshay moniker for Tri Angle explored vocals in a unique manner. Asiatisch expands on the political themes of Desert Strike in a new and unexpected way, and acts as a homage to the style of grime known as "sinogrime". Asian motifs and melodies are prominent throughout whilst conceptually Al Qadiri runs through "the fantasies of east Asia as refracted through pulpy Western pop culture". If that wasn't enough to sell you on the concept, opening track "Shanzhai" is a "nonsensical Mandarin" language cover of Sinead O'Connor's "Nothing Compares 2 U".

Review: Dustin O'Hallaran and Adam Wiltzie have been dealing in musique concrete for a while now, with releases on some of the most daring labels around. However, this latest work on Kranky is undoubtedly a significant step up for the outfit, with people such as Keith Fullerton Whitman having released on the label. Three extended slices of pure hedonism, each one growing and rising in emotion and momentum with each new melody. "Atmos VII" drops you into a tranquil soundscape surrounded by orchestral swirls of melodies and subtle kick drums, and "Minuet For Cheap Piano Number One" prolongs this journey through paradise thanks to some stunning keys and spine-chilling bursts of ambience. Over on the flip, the Greenhouse re-wiring of the title track is equally pensive but considerably more sinister, with an extra dosage of guitar feedback winding its way into the mix. Stunners.

Review: Kolsch gets his freak on with this latest release on for the Kompakt Extra label which represents the Danish producer's fourth Speicher in total. We are not sure what Rune Reilly Kolsch was on when he was in the studio making "Papageno" but we sure would like some, as the production is bugged out to the extreme! Detuned synths and malfunctioning electronics collide magnificently with manipulated basslines and stripped back percussion before Kolsch introduces a most pleasant detour into a more melodic plane blessed by fluttering vocals from When Saints Go Machine's Waa Industry. On the flip, Kolsch teams up with pianist Gregor Schwellenbach for the sublime "Cassiopeia" which surely ranks as one of Kompakt's most affecting B Sides of recent memory.

Review: Hospital Productions is a non-stop operation and following this year's long-players from Alessandro Cortini, Ninos Du Brasil and Ron Morelli, Vatican Shadow's latest swoop is this ambient album produced with Function. The seven-track LP was recorded between Berlin and New York, and it's described as best suited for after-hours home listening, but whether you really want to listen to this after a big night is up to you. Indeed "A Year Has Passed" and "A Year Has Gone By" are downbeat and melancholic, whereas other tracks lean more towards industrial ambient, similar to fellow Hospital artist Lussuria's work. "The Nemesis Flower" is a darker highlight while "Red Opium" and "Bejewelled Body" is where the house and techno beats lie.

Review: Arriving with some truly mind bending artwork from controversial guro manga artist Shintaro Kago, the new Flying Lotus album You're Dead! Is quite alot to take in upon first listen. Some nineteen tracks deep, Steven Ellison uses all the available space to draw you deep into the afterlife as he sees it, veering through heavily psychedelic jazz passages and next level beat explorations that demand you pay full attention. The iconic Herbie Hancock leads a high profile cast of contributing artists to Fly Lo's fifth studio LP and his most ambitious to date with Kendrick Lamar, Captain Murphy, Snoop Dogg, Angel Deradoorian, Thundercat and Niki Randa also adding to what is a transcendental listening experience.

Review: The music Venezuelan artist Alejandro Ghersi makes as Arca first came to the fore via UNO, the New York label who issued a trio of compelling releases in 2012. Arca's brand of glossy, high grade beat experimentation has seen him go on to work with Kanye West and FKA Twigs as well as release on venerated US indie Hippos In Tanks. An album deal with Mute may seem unexpected yet the UK label have a long and proud tradition of challenging conventions. Entitled Xen, Mute have described the 15 track set as full of "mercurial forms, fluxing unpredictably from smooth to spiked to sweet" and you wont get much of an idea from the soundclips. If you were charmed by the FKA Twigs set this is an album that will get your serotonins bubbling.

Review: Jean Pierre Decerf's records have been sampled by top talent in the game (Wu-Tang Clan's RZA) and have also been massively inspirational to the likes of indie talent such as Air. However, the Parisian has always been something of a recluse and it's only now that his best moments have been collected into a definitive compilation by Born Bad Records. As both the cover and title suggest, this stuff is pure psychedelia from start to finish and tracks like "Like Flight" are simply stunning, where freaky guitar riffs meet with twisted synth patterns, funky percussion swings and seductive vocals. Not to exaggerate or anything but this LP might well be the best thing that's landed here at Juno HQ this week and you'd be silly not to pick it up. Essential electronic and discofied innovations.

Review: Emergent Italian producer Herva has been responsible for some truly unique music committed to wax in recent times - see last year's album for Delsin as well as his hook up with Massprod on the mighty Kontra-Musik. His run of fine releases continues here with How To Mind Your Own, a six track EP for Dublin's All City operation which doesn't so much as defy easy genre categorisation, it laughs in the face of such futile gestures. Some may call it deep house but really Herva has crafted some mutant brands of the genre where individual tracks contain more ideas and rhythmic deviations than you are likely to hear in whole 12"s from many other artists. Totally crazy and totally refreshing.

Review: Using the Turkish psychedelic project Insanlar as a jump off point, Honest Jon's have enlisted Ricardo Villalobos to turn out one of his grandiose remix projects that gels so naturally with more exotic sound sources. The original of "Kime Ne" is already an enchanting, Moog-infused groover rich with traditional vocals, and then Mr Villalobos locks the ingredients in for a typically cosmic ride into stripped and hypnotic house territory, letting the lutes intertwine with dusty reams of percussion using that alchemists touch that could only come the man himself. The remix spreads itself over two sides of wax, leaving one side of the double pack free for a fetching etching as well.

Review: 11 years on from DJ Koze's one and only commercial mix, 2004's All People Is My Friends for Kompakt, the Pampa boss lines the 50th DJ Kicks mix, following high profile contributions from Nina Kraviz and Actress. This vinyl edition offers the best of both worlds really, featuring some 17 highlights of Kozalla's selection in their original form spread across two slabs of vinyl whilst !K7 have also thrown in a CD copy of the mix so you can hear how it's all done Koze-style. As you'd expect Koze presents one of the more far-reaching selections in the series, with Madlib-produced Freddie Gibbs nestling up alongside William Shatner, Boards of Canada remixes, Broadcast whilst the likes of Marcel Fengler, Session Victim and Frank & Tony offer some deepness.

Review: Moscow Records boss Archie Hamilton appears this time on Enzo Siragusa's Fuse London imprint with these slices of rolling, Latin-infused tech-house for the beach party. This is the kind of stuff that lovers of Mindshake and Rawthentic will be all over. First up "Mind Blank" brings the tough yet sultry attitude that you could imagine playing peak time at Amnesia. "Works On Sunday" takes the tempo down a notch or two for something more suited to the afterhours, but just as sexy. There's also a remix of this on the flip by none other than label boss Siragusa with Seb Zito keeping the afterhours vibe intact but with a druggier, minimal take on things.

Review: With a hand in several local Bristol labels, it's no surprise Young Echo man Ossia is described by Blackest Ever Black as one of the city's "most vital behind-the-scenes operators". Prior to this Red X 12" there has been very little material from Ossia, but he's clearly a very confident producer on the basis of the three tracks featured. The title track takes inspiration and sonics from the personal recorded diaries of Peter Tosh, filtering out his paranoid words and splicing them with near ten minutes of apocalyptic, dread-filled, slowed down techno. The B side sees Ossia veer off into more abstract and largely beatless terrain that slots in nicely with the more adventurous tape mangling antics of his Young Echo cohorts.

Review: Thankfully, Richard D. James has decided to finally release at least some of the output that he's been banging on about since mid-2000s. In a number of interviews, the might Aphex Twin hinted that he has vast artilleries of tracks stacked up and unreleased, probably more on purpose than out of laziness...or maybe not. What we do know is that AFX is reborn after the string of acid 12"s released about 10 years ago on Rephlex, that saw the alias become one of the most popular of James' alter egos. Orphaned Deejay Selek is a collection of tunes that contain all of the Twin's magic and unpredictably, but that also cut straight to the point and head to the middle of the dance floor. This is banging brain dynamite coated in the man's iconic style and flair. Welcome back AFX, and many hats off to Warp for making it happen.

Review: The latest single from Jamie Smith's 2015 album In Colour, featuring The xx bandmate Romy Madley Croft, gets the remix treatment from a pretty stellar cast. Starting off, Hivern Discs boss John Talabot gets on board with his "Loud Synths Reconstruction" which definitely lives up to its name on this driving proggy take on the track. Ed Russell aka West Country bass techno auteur Tessela steps up and delivers a typically thumping and funked up rendition which is a real highlight on here. On the flip, Cologne's Barnt delivers yet another dark journey through the cosmic hole and the legendary Matthew Herbert offers us his take; sublime deep house and yet again; sampling everything but the kitchen sink!

Review: Apart from having one of the best and most singular names in electronic dance music, The Future Sound Of London have been one of the pillars of modern UK dance music, pushing through a mixture of house, techno, and breaks since the early 1990s - and, in fact, some of their tunes like "Papua New Guinea" are still getting regular play time in clubs today. While they have released a huge amount of music over the last 25 years, they've got an equally vast amount of unreleased gold in their treasure chest, a collection of tracks that have seen the light of day thanks to the present Archived series. This week it's time for the series' eighth instalment, another twelve unmissable bundles of electronic delight. However, this is a lot more than just a compilation, and the tunes work their fine mixture of melodies, breaks and electronic beats into a sublime collection of sounds. If you're into vast and explorative music with a cutting-edge, you needn't look any further.