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Review: Between 1986 and 1994, Tony Boninsegna released an insane amount of music under dozens of different aliases, offering up rave-ready tracks that variously mixed and matched elements of acid house, bleep & bass, hardcore techno and breakbeat. Yet he remains almost unknown. Notes From The Underground, a two-part retrospective of his career, is therefore well overdue. This second part, which boasts extensive sleeve notes from UK dance music historian Matt Anniss, is packed to the rafters with re-mastered treats, with highlights including the electro-tinged bleep business of Lab Technicians' 'We Gave You Life', the weighty acid breaks of Sykosis 451's 'Monsoon', the breakbeat hardcore funkiness of MI7's 'Show I', and the proto-jungle madness of Raggahead's 'Give The People What They Want'.

Review: At long last, a light has been shone on the career of one of the UK's true underground rave heroes: Bedford producer (and man of umpteen aliases) Tony Bonisegna. Cold Blow and Musique Pour La Danse have done a terrific job on the two-part set, offering up remastered killer cuts from Bonisenga's vast catalogue alongside extensive sleeve notes by Join The Future author Matt Anniss (whose book was the first to tell the producer's remarkable story). There's plenty to set the pulse racing on this first volume, including Bonisegna's earliest explorations of house in the late 80s (both as part of The Rhythm Squad), the clonking and bleeping shuffle of Original Clique's 'F (Whistle Mix)', the Pet Shop Boys-go-to-a-rave shimmer of 'Tonnere' by Pierrepoint, the acid-flecked breaks madness of Big Showdown's 'They're Here' and the sub-heavy early breakbeat hardcore of AEK's 'Lick It'.

Review: Bushwacka deserves any plaudits that come his way. He was there at the birth of acid house and went on to foment his own take on tech house. He held a legendary residency at the End in London and of course dropped countless seminal tunes alongside Layo, not least their epic 'Love Story' mash-up. Now the acclaimed but still relevant UK veteran dives back into his roots to serve up the sounds that came before tech house with highlights that would have been heard at the time at parties like Heart & Soul, Release, The Drop, Vapour Space, and at venues like Heaven and The End. Skippy, dubbed garage and driving house all feature in a fine collection.

Review: Given that he cut his teeth as a DJ and producer in San Francisco during the early 90s, DJ Spun is in a perfect position to educate us on the city's breakbeat-driven 'rave' sound - a hybrid and hyper-local affair that blended the Bay Area's psychedelic sounds and loved-up ethos with elements of acid, hip-hop, hip-house, deep house and British breakbeat hardcore. The Beat By DJ Spun Volume 1 does a great job of highlighting largely lesser-known, breakbeat-powered cuts produced in the city between 1988 and '94. For proof, check out the dreamy, mid-tempo wonder of Single Cell Orchestra's 'Transmit Liberation', the funk-fuelled hedonism of Triple M's 'Prisoner of Passion (Funky Dub Mix)', the deep and dubby breaks of 'Based (Not So Free Mix)' by DJ Emma, and the sparse-and-squelchy post hip-house shuffle of Spins Inc's 'The New Frontier'.

Review: If you're looking for a bumper collection of chart bothering and ever-popular 80s disco then look no further than this. Blanco Y Negro has assembled no fewer than three whole CDs worth of the stuff and managed to include every sub-genre imaginable. Pop disco, hi-nrg, Italo disco, 80s house, nu-disco and plenty in between are all covered with aplomb. There are stone-cold classics like The Human League's 'Don't You Want Me', Grandmaster Flash & Melle Mel's 'White Lines (Don't Don't Do It)' and The Human League's 'Don't You Want Me' as well as a few equally fun but slightly less ubiquitous jams.

Review: In 2009, longtime collaborators Frankie Knuckles and Eric Kupper made their production partnership official via the Director's Cut project. This epic retrospective gathers together the best tracks and remixes the duo completed prior to Knuckles' death in 2014. Disc one offers up original productions, including ear-catching re-makes of some of Knuckles' most famous early works (we're particularly fond of the versions of "The Whistle Song", "Your Love" and "I'll Take U There"). On the second disc you'll find the best of their remix work, with standouts including a sublime take on Candi Staton's "Hallelujah Anyway" and a storming, previously unreleased version of Lou Rawls' "You'll Never Find Another Love Like Mine". As a bonus, the third disc mixes the best of the lot together in one suitably gorgeous, non-stop journey.

Review: Who better to tell the story of house music than one of its main early protagonists? Marshall Jefferson penned plenty of Chicago's greatest early records and as a DJ helped lay the foundations for the sound too. As such he is a perfect choice for Defected's House Masters series and does a fine job of laying out some of its finest moments on this brilliant new mix. No matter how many times you hear these OG gems they still resonate, from the passionate vocals of Ten City to the iconic chords of 'Someday' via the darker jack of Jefferson under his Hercules alias this is an essential listen.

Review: It's been a long time coming, but finally Defected's producer and remixer-focused House Masters series has turned its attention to the undisputed Godfather of House himself, the late, great Frankie Knuckles. This first part (of two) fittingly opens with the track that originally set out his melodious, warm, colourful and loved-up trademark sound, the Jamie Principle collaboration 'Your Love', before flitting between genuine anthems (legendary remixes of Loose Ends' 'Hangin' On a String' and 'Blind' by Hercules and Love Affair, the sleazy, acid house-era 'Baby Wants To Ride', the exceptional 'Hallucinogenic Mix' of Chaka Khan's 'Ain't Nobody') and arguably more overlooked gems (the garage-house wonders that are his remixes of Adeva and Sounds of Blackness).

Review: Defected's House Masters series tribute to Frankie Knuckles is being released as two double LPs, but it could have easily been four or five, such is the quality of the tracks and remixes that the 'Godfather of House' produced during his lifetime. Naturally this second and final part is full to bursting with colourful, tactile and wonderfully saucer-eyed classics - many familiar, some slightly less so - which deserve a place in your collection. Picking highlights is naturally tough, but for proof of Knuckles' unassailable musical majesty and dancefloor magic it's hard to beat the Sound Factory mix of 'The Whistle Song', the low-tempo house bliss of his remix of Inner City's 'Whatcha Do With My Lovin', the Satoshi Tomiie/Robert Owens hook-up 'Tears' and his incredible revision of Electribe 101's 'Talking With Myself'.

Review: Orpheu The Wizard is a Dutch DJ and co-founder of the infamous but sadly now defunct Red Light Radio. Coming through for the fifth edition of the Sound Of Love International series - which showcases the eclectic musical tastes of the DJs who play at the Love International festival in Croatia - this fresh selectors' comp hears Orpheu crate-fiddle through cosmic disco, Balearic pop, synthwave and ambient, by the likes of Khidja, Benedek, Donato Dozzy and Gaussian Curve.

Review: The seventh and final installment of this vinyl series hones in on tracks that are sure to keep the dancefloor packed. Pressed on striking transparent blue and green vinyl, this 2LP set is a pulsating collection of club classics that defined the era's nightlife, bridging disco, funk, house, electro, pop and hip-hop into an irresistible sonic melting pot. Side-A starts off with winner and Inner City's euphoric house staple 'Good Life', setting the pace for an album steeped in dancefloor euphoria. Kym Mazelle and Robert Howard's soulful 'Wait' and Coldcut's 'People Hold On' with Lisa Stansfield show the decade's seamless blend of house and pop, while 'Pump Up The Volume' by M/A/R/R/S redefined sampling's role in dance music. S'Express's 'Theme from S-Express' and Bomb The Bass's 'Beat Dis' bring explosive energy, while Technotronic and Rob 'n' Raz keep the tempo high with their club anthems. Late-'80s remix culture shines as Chaka Khan's 'I'm Every Woman' get a modernised update while PWL's glossy, synth-driven touch on 'Sandra' shines brightly. 80s dance legends Bananarama and Samantha Fox are also have vital appearances to the collection. LP2 dives into hip-hop-infused dance with Soul II Soul's 'Back To Life', Ten City's deep-house masterpiece 'That's The Way Love Is' and Neneh Cherry's genre-defying 'Buffalo Stance'. The finale is pure club gold: 'The Only Way Is Up' by Yazz, the thunderous 'Blue Monday '88', and 'Fools Gold' by The Stone Roses. Closing with 808 State's 'Pacific State' and The Beloved's 'Sun Rising', Floorfillers is a flawless time capsule of dance music's late-80s evolution. This double pack is steeped in history while being an excellent range of styles that made the 80s so remarkable.

Review: This vibrant 4-LP collection is a love letter to the music that defined queer dancefloors from 1980 to 1989. It offers an eclectic mix of diva, high energy, Europop, house, alternative and pop classics that celebrate the diversity and innovation of an era when clubs were crucibles of creativity. The tracklist is a masterclass in curation, balancing iconic anthems with deeper cuts. Highlights include Eartha Kitt's sultry 'Where Is My Man', Sylvester's electrifying 'I Need You' and Jean Carne's soulful 'Was That All It Was'. Divine's campy 'Native Love' rubs shoulders with Ryan Paris' shimmering 'Dolce Vita' and Laura Branigan's enduring 'Self Control'. On the experimental edge, New Order's 'Sub-Culture' and Visage's 'The Anvil' bring post-punk energy, while Grace Jones' 'Love On Top Of Love' epitomises avant-garde sophistication. Production giants like Trevor Horn, Larry Levan and Stock, Aitken & Waterman leave their unmistakable mark, ensuring the music pulsates with the era's pioneering spirit. The collection also reflects the bittersweet reality of the time, a period of immense joy and boundless creativity shadowed by the AIDS crisis. This set is more than nostalgiaifull of artistry and the enduring influence of queer club culture during one of its most transformative decades.

Review: This meticulously curated five CD collection captures the dazzling spectrum of dance music that thrived on queer club floors between 1980 and 1989. With 53 tracks spanning multiple dance genres, the set celebrates an era of bold experimentation and unbridled creativity. Eartha Kitt's magnetic 'Where Is My Man' and Donna Summer's electrifying 'Love Is in Control' set the tone for a journey through anthems and underground gems alike. Tracks like Sylvester's euphoric 'I Need You' and Gwen Guthrie's 'Peanut Butter' evoke the soulful exuberance that defined the dancefloor, while Divine's 'Native Love' and Bobby O"'s 'I'm So Hot for You' bring unabashed camp and energy. On the Europop side, Desireless' dreamy 'Voyage Voyage' and Modern Talking's sleek 'Brother Louie' deliver shimmering melodies, while New Order's 'Sub-Culture' and Siouxsie and the Banshees' 'Peek-A-Boo' infuse a post-punk edge. House and acid influences shine in Electribe 101's hypnotic 'Talking with Myself' and Wee Papa Girl Rappers' 'Heat It Up'. Grace Jones' avant-garde 'Love on Top of Love' and Malcolm McLaren's 'Deep in Vogue' epitomise boundary-pushing brilliance. This collection is a vivid celebration of a transformative decade, reflecting the resilience and creativity of a community that danced through joy, pain, and boundless innovation.

Review: Fierce, fabulous and more than a little fancy, Box Of Sin takes an exhaustive look at 80s gay nightlife as the driver for the evolution of dance music. Spread over five CDs, we're taken on a sweat-slicked thrill ride through hi-nrg, disco, proto house and synth-pop taking in seminal classics and deep cuts alike. There are plenty of perennial favourites contained within, from The Pointer Sisters' 'Jump (For My Love)' and Soft Cell's 'Memorabilia' through to S'Express' massive chart dance banger 'Theme From S'Express', and you can be sure the compilers have taken care to source the real deal 12" mixes that bring out the best in a track. With plenty of lesser known surprises and a frankly head-spinning amount of knockout tracks, this is an essential document of the outsized impact queer club culture had on electronic music in the 80s and early 90s.

Review: If you ever need to demonstrate the queer foundations of dance music, just reach for this authoritative compilation - case closed. Demon Music Group have gathered together a mighty 24 tracks of seminal hi-nrg, synth-pop, proto house, Eurobeat and more besides to paint a picture of the vibrant culture which set the tone for house and techno to come. There are some monster hits in this four-vinyl set including Whitney Houston's 'Love Will Save The Day', Frankie Goes To Hollywood's 'Relax' and Dead or Alive's 'You Spin Me Round (Like A Record)', all presented in their finest extended mix forms. There's also more than enough deep cuts to satisfy the more seasoned diggers out there and the artwork is on point, making this a fitting tribute to the 80s gay nightlife which incubated a new kind of dance music.

Review: Duch label Armada Music takes a pan-global view on this new compilation which focuses on the legacy of house music. Called, smartly, House Legacy, it goes from the deepest of the deep in Joe Smooth's still exquisite house hymn 'Promised Land' to the most catchy vocal sounds in Praise Cat's 'Shined On Me' via the archetypal New York dub house of MK's 'Somebody New.' Alongside other big cuts such as Reese aka Kevin Saunderson's 'Just Want Another Chance' are some lesser-known gems from Olav Basoski, Afro Medusa and Gadjo. A vibrant, melting pot and fine cross-section, then.

Review: In Order To Dance 4.0 is along, long overdue follow up to the Belgian label's last legendary entry into this series many decades ago. In the years since, the prancing horse logo has become synonymous with cutting edge techno and electronic music from names as revered as Aphex Twin, Derrick May and Joey Beltram. This instalment shows that label founder Renaat Vandepapeliere's curation skills remain as sharp as ever, with a mix of new school names and enduring pioneers all contributing fresh sounds. Hyphen's 'Winter Sky' opens in lush melodic fashion, veteran Dino Lenny impresses with his 'Did This' and Dharma's 'Structured Chaos' is a more soulful moment of chord-led calm.

Review: Discover all the gems of house music in a double vinyl special collection selected by the Rex Club, the emblematic Parisian club that has hosted the greatest names in electronic music. Local legend Point G nails that French Touch vibe on the sublime classic 'Underwater', and there's the Masters At Work with India classic 'I Can't Get No Sleep' - a true zeitgeist of 90s US house, as is Logic's seminal 1990 anthem 'The Warning' - a staple of the Strictly Rhythm back catalogue. Another quintessential track from the club's heyday comes from the inimitable Etienne de Crecy on 'Prix Choc', the timeless, balmy summertime groove that is 'Byrdman's Revenge' by Mike Delgado, and representing the new school is Leo Pol on a similar vibe with 'Chantal'.

Review: Studio Brussel present the fifth edition of 'The Greatest Switch', the euphoric Belgian pop dance compilation and one of few to chronicle all of said music in a context of influencing new beat and trance. This edition of the compilation zooms out a little bit more, recognising the effect of mega well-known tracks from across the pond. Kicking off with New Order's timeless track 'Blue Monday', this one's also got Donna Summer, Laurent Garnier, Roni Size, and Rudimental on there, establishing a dialogue between different forms of mainstream dance music we never even thought startable.