Back catalogue: All genres

Review: Scottish veteran Hifi Sean - once, in an ancient time, frontman of indie stars The Soup Dragons - doesn't really do half-measures. 'Waiting for the Sun' is his first 12" since rinsing out the Fire Island remix in 2021, and it lands somewhere between gospel house uplift and morning-after clarity. The original version doesn't hold back - full-bodied keys, layered vocals, and a central hook that sounds like it came to him mid-dog walk, which, in fairness, it did. It could have collapsed under its own optimism, but somehow doesn't. The acapella confirms just how tightly constructed the vocal work is - stacked, reverent, and stubbornly catchy. 'Sunset Dub' dials things down without losing shape, keeping the bassline intact while pulling most of the colour. 'Sunrise Reprise' nudges things into the kind of end-of-night territory where no one's really dancing anymore but still doesn't want to leave. Not a reinvention, but a sharp, self-contained reminder that Hifi Sean knows exactly what his lane is - and how to drive directly through it at golden hour.

Review: Texan deep house stalwart Ben Hixon has been very busy of late, variously serving up EPs of his own and guesting on one by pal (and fellow Dallas resident) J.T Donaldson. Hixon is particularly good at combining analogue electronics (especially vintage drum machine beats) and more organic sounds with lashings of trippy effects and curious samples. He does that masterfully on this four-tracker, skipping between the deep, rolling bass, looped vocal snippets and crunchy beats of 'Get In The Mood', the deep tech-house DJ tool that is 'Drumloop 1', the dusty, minor-key shuffle of title track 'Hustle', and the ultra-deep hypnotism of 'Scared of June'.

Review: Detroit's Robert Hood returns to vinyl with a techno triptych that distils his vision into something sharp, agile and impossibly refined. Though long synonymous with minimalism, he hasn't sounded this raw in yearsi'Art Form' arrives like a jolt, all jacking 909s and acidic flickers that feel urgent and alive. It's his first straight techno release since 2024, and it pulses with a kind of stripped-down euphoria, framed by Hood's ear for clean lines and stark rhythmic discipline. 'Art Class' deepens the tone, winding through heavier acid modulations that buzz beneath a more spacious arrangement, less confrontational but just as potent. On the B-side, 'Art School' leans into the cinematic mode, pairing sci-fi synth washes with grinding low-end pressure, rolling somewhere between introspection and propulsion. Though the tracks first landed digitally earlier this year, hearing them sequenced here offers a deeper read into Hood's blueprintiacid as method, groove as design. In his own words, M-Plant is about "only what is essential", and these three cuts prove just how much feeling can be encoded in that minimal frame. It's a statement of intent, executed with absolute clarity from one of techno's true architects.