Back catalogue:

Review: French label D3 - which when pronounced in French sounds like their word for Detroit - is a decade old and celebrates the milestone with a special three-part EP series. As has always been the case over that 10 year period, the sounds it serves up are deep and housey. This various artists affair kicks off with AsTreJinkins' slow and propulsive 'Terror' before some nice airy and live sounding broken beats from New Digital Fidelity. Moroka picks up the pace with some hi-tek soul that sounds straight from the Motor City and Byron The Aquarius shows off his mastery of the keys again with a dreamy deep cut 'Tua Su Ra'. Nico Lahs shuts down with a heavyweight beatdown in the form of 'It's Spelled BARI.'

Review: B2 Recordings keeps it classy with another new deep house offering from label head Bengoa. It comes hot on the heels of his last outing here in December but this time all three tracks are straight-up solo cuts with no featured guests. 'Hustler's Convention' is an emotionally intense humid, steamy cut even though the grooves are warm and hypnotic. 'Apollo' has more raw percussion and scratchy drum textures overlaid with trippy vocals and last of all is 'Fanatic,' which pairs leggy bass and drums with more swirling vocal samples and interesting broken beat patterns. Another fine outing from Bengoa then.

Review: B2 Recordings rolls out more of its quality-assured deep house here with Label head Bengoa stepping up next for a new three-tracker that comes with featured guests Kristina Berger and Brothers' Vibe. 'Idyot' kicks off with deep and pulsing synths and clacking hits that bring an early Chicago vibe next to the libidinous and erotic vocals which really tease. 'Meet Me Halfway' sinks into a super silky groove that is deep as you like and driven by stylish drum hits under a muttered vocal. 'Come On Now' then sinks into a more acid-laced atmosphere with sustained chords keeping you on edge next to loose and jumbled percussion. It's a stylistically diverse EP, this one.

Review: B2 Recordings is a label run by Greek talent Bengoa as a platform to offer up his own diverse sounds. Here he serves up a new single featuring Pan that is sublime, seductive and deep. The vocals you will recognise from a classic pop hit but here they get all resung in an even more libidinous fashion. The drums roll, and the percussion is loose, and bright but soft chord stabs heighten the mood. Flip it over for an instrumental version of 'Thelxis' that is all about the late-night grooves. Two stylish sounds for romantic moments.

Review: The Moiss Music label seems to like to drop their EPs two at a time. They did it in February and they're doing it again in May. This eighth outing collects four more lively disco cuts, each with their own subtle influences. Berobreo's 'White Rabbit' for instance has funky undertones with loopy guitar riffs and nice breaks. The Magic Track's 'Jamming With Mom' meanwhile is more sensuous and deep, with late-night synth work and seductive vocals. Oldchap's 'I Want To Show You' has an expressive soul vocal with more low-slung grooves and Alexny's 'Not Bad' then gets quick, clipped and loopy for its lip-pouting disco thrills.

Review: Betty & The Code Red is a life and creative partnership between Benin-born Tunde Obazee and his girlfriend Betty. The pair grew up in Nigeria and would play all manner of instruments to entertain people at the local school before staying together as they went on to live in Italy and the US. Obazee performed at colleges and universities despite no formal training and eventually recorded a selection of tunes together including a small album on relatively new bits of gear like the Yamaha RX7. Especial has collated some of their best work across two new EPs, this being one of them.

Review: There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.

Review: West End Records? What's that? This is Bitter End and you're in for some lush disco rhythms with this new badboy from the imprint's mysterious movers and shakers! "Echo Loves Narcissus (part 1)" dominates the A-side with a mighty, steel-cut groove that oozes a certain 90s nostalgia without sounding stale or overworked; the tune's punchy bass-weight and cosmic melodies make for the perfect combo. On the flip, "Get The Love" takes inspiration from the 80s EBM movement while still holding down a fine-ass house groove complete with sexy vocals and warehouse bleeps for all rave purposes...

Review: Despite presumably being insanely busy A&Ring for all his many labels, which put out music at a high rate of release, Burnski does also still find time to make his own music. And it's top tackle too, whatever he tries, from garage to ambient. To kick off with here the Northern rock cooks up a super breezy and Balearic-tinged house tune that you can imagine playing at some vibey Ibiza sunset party. That's probably why he called it 'Summer 23' to be honest. On the flip, 'Afters' gets more chunky and tribal, with tight and pinging drums and that sort of wide-eyed, tongues-out energy that gets the freaks going.

Review: Jonny 5 is known for his superlative edits as well as heading up the Bahnsteig 23 label and here he returns from time out becoming a father to kick off this new one from Duca Bianco. 'Joy riding' is loopy disco-post-punk for a peak-time trip. Multi Culti man Dreems then brings the Afro party vibes with his 'Bususua' which is packed with dub fx and steeped in fun. Miserymix then throws in their Italo-licked post-disco and punk sounds on 'Adjust Your Love' before a big finale by Black Bones. They offer a deep and dubby house that has been a secret edit for a while but finally gets unveiled here to great effect as it worms its way into your brain.

Review: The second Abstract Cuts release is an EP split four ways, but with new, unconventional approaches to the dancefloor at the heart of each submission and all using vintage drum machines and samplers. The Robot Dance Connection's 'Powers Of Ten' (R2d2 live edit) kicks off side one, shiny high frequency polish played off against a gorgeously stubborn techno beat, before the slinkier and smoother 'Gold Saucer' by Brunzi offers an equally danceable but less angular counterpoint. Flip it over and Tomska's 'Lethal Overdose' (Touch dub 2022) offers rushing sonics, off kilter snare damage and four to the floor thump, before Emile's 'Jeu Froid' completes the set in grimy basement style.

Review: Craft Music's Good For Dance series continues with its second instalment and this one has been curated by none other than DJ Craft himself. Joining him are talented pals Schmoltz, Bogdan Ra, Romain FX, and Outra, also known as Joutro Mundo. These deep diggers are celebrated for their prowess in unearthing hidden gems and transforming them into dancefloor anthems and that's what they do here as each artist brings a unique flavour to the mix. Schmoltz's 'Luv The States' is a peak-time percussive disco jam, Bogdan Ra brings some slap-funk drums and glossy Italo synths and 'Tell Me Why' has crunchy drums and jagged synth stabs before a camp closer in 'Colosso'.

Review: The Blessed Madonna, aka US DJ and producer Marea Stamper is back with the release of her debut album proper after an album of remixes with Dua Lipa in previous years. Godspeed is a great embodiment of her sound which covers a wide range of house and disco styles, always served up with big energy and lots of love So far, fans have heard the bonus single 'Happier' featuring Clementine Douglas and it is a bittersweet bubblegum dance track blending melancholy vocals with triumphant production. The rest of the album promises the same infectious energy, with catchy basslines, sharp breakbeat breakdowns and a nostalgic feel. Godspeed captures Stamper's emotional depth and big time grooves in style.

Review: Funkadelic superstar George Clinton knew many a side project as a producer; one was the ingenious, part-cyborg duo, The Brides Of Funkenstein. It was Clinton's idea that two other backing singers, Lynn Mabry and Dawn Silva, become the Brides Of Funkenstein, a character he invented for the 1976 Parliament LP, The Clones Of Dr Funkenstein. So popular were the brides that Clinton wasted no time in signing them to Atlantic Records; their debut album here followed the rip-roaring fan feedback that ensued from their debut single 'Disco To Go' / 'When You're Gone' in the US. The decision to break the male-fronted P-funk mould was intentional: simply *that many* Clinton instrumentals could not be credited to the man alone. "He's got thousands of tracks. He's got a whole cupboard full of them. He's got enough tracks to keep him in albums for two years," once chimed Mabry. Enchanting each jam with mecha-augmented femme flair, we're urged to be taken to the limit, across a blistering seven, smackout tracks. Mark 'Warship Touchante', the star tune by far: a wonky hi-NRG nutter, splattered with surreal, performative electronic vocal effects.

Review: Given their respective careers, you'd expect this surprise debut album from Balearic nu-disco specialist James Bright and Groove Armada member Tom Findlay to be rather good - or at least sonically attractive with good grooves and quality musicianship. It is, of course, with the pair opting for a glossy, 80s-influenced synth sound, bubbly electronic grooves, sun-splashed Balearic pop intent and authentically executed nods to West Coast electrofunk and nu-disco pioneers Metro Area. Our picks of a very strong bunch include the synth-fired blue-eyed soul of 'Slow Dance', the sunset-ready gorgeousness of 'Flowers', the low-slung, late-night AM radio vibes of 'It's Only Rain' and the Morgan Geist-esque 'NY Disco (Smile)'.

Review: Athens of the North originally contracted obscure 80s boogie artist Billy Bruner about reissuing two of his rare, sought-after singles - "The Tulsa Song" and "The Dream" - but instead raided his tape archives and putting together what's effectively his debut album. Combining previously released tracks (including some made as part of similarly obscure outfit T'Spoon and the gospel-leaning band The Davis Family), unheard extended versions and previously unreleased songs, the album is warm, soulful, slick and summery. Highlights include the stuttering P-funk flex of "Cats Meow", the sizzling dancefloor heat of "School Dance" and the deliciously extended version of glassy-eyed '80s soul jam "Never". If sparkling, synth-heavy '80s soul is your thing, this is one surprise retrospective you won't want to miss.