Back catalogue: All genres

Review: Earlier this year, legendary NY house label King Street Sounds was acquired by Armada Music. The Dutch imprint plans to reissue many of the well-known - and lesser-celebrated - gems from the King Street vaults in the months and years ahead. To kick things off, they've delivered this vinyl sampler featuring some of the stable's most admired cuts of all time. So, we get Dennis Ferrer's iconic remix of Blaze and Barbara Tucker's gospel-powered soulful house anthem, 'Most Precious Love', the 'King Street Mix' of Jovonn's legendary deep, bumpin' tribute to New Jersey's Club Zanzibar, 'Back To Zanzibar', Mood II Swing's hot and heavy 'moody club mix' of their own Carole Sylvan collaboration 'Closer' and the all-time deep house classic that is the Wamdue Black extended rework of 'Cascades of Colour' by Ananda Project. Simply essential!

Review: It would be fair to say that post-disco outfit Unlimited Touch's 1980 single "I Hear Music In the Streets" is one of the greatest boogie/electrofunk records of all time. Louie Vega clearly agrees, because late last year he decided to gather together the remaining members of Unlimited Touch and record a fresh 2020 version. The A-side "Touch Mix" is the bomb. It features a more organic-sounding disco-boogie groove than the 1980 original, with delicious guitars, bass and electric piano/organ underpinning seriously good group vocals from the sometime Prelude-signed outfit. Over on the flip, Vega serves up an electric piano solo-laden dub mix, as well as a "Classic Boogie" take that naturally sounds very similar to the band's much-loved original version.

Review: Some two decades after it first slipped out of Underground Resistance's Motor City studio and into record stores worldwide, one of UR's most magnificent moments has been given a deserved reissue. Largely produced by 044 (real name Gerald Mitchell) and featuring vocals from one of his relatives (one Ron Mitchell), 'Hardlife' is not so much a sci-fi techno anthem as a mid-90s US garage/soulful house workout with sparkling, undeniably intergalactic, Motor City synths. As it did back in 2001, it comes backed with a fine remix from the late Aaron Carl that successfully re-frames the track as sparse, bouncy chunk of soul-fired peak-time techno.

Review: Terry Usher takes things deep on a new outing for Saint Wax that has spiritual overtones and Afro vibes exuding from every beat. '8 Hours' opens up with the sort of spine-tingling vocals and pensive pads that take any floor higher. 'Never Leave You' is a percussive groove with an infectious sense of skip and 'M' Pon' then picks things up with chanting vocals and warrior leads next to rousing horns full of soul. 'O' Wey' closes out with steel-plated drums and soft shakers bringing plenty of late-night magic.

Review: Utah Saints, the debut album from the British electronic duo, was originally released in the U.S., followed by a UK release in 1993. This album played a pivotal role in establishing the band as household names in the burgeoning techno scene, reaching number ten on the UK Albums Chart. The singles 'Something Good', 'I Want You' and 'What Can You Do for Me' showed the band's crossover appeal, with 'Something Good becoming a staple on college radio in America. A standout on the album, 'Something Good', prominently samples Kate Bush's 'Cloudbusting', lending it a nostalgic yet fresh vibe. Released as a single in May 1992, it soared to number four on the UK Singles Chart and captured attention on the US Billboard Hot Dance Club Play chart as well. The song also gained prominence during the BBC's coverage of the 1992 Barcelona Olympic Games. The album is full of great techno and dance music. This vinyl reissue features striking new artwork that beautifully balances modern aesthetics with a classic feel, ensuring it appeals to both new listeners and longtime fans. Utah Saints remains a defining work of its time, reflecting the innovative spirit of early 90s electronic music.