Review: Deeper shades of a finely sifted pedigree. Irish label Appian Sounds, helmed up by Al Blayney, champion only winnowed techno sounds, not threshed. A welcome international team huddle in, with these six artists from locales as far-flung as Amsterdam and Valencia contributing the likes of 'Tsuneo' and 'Persist'. The tunes verge melodic as they move through and beyond jankiness, distending die-cut acids and subtly synthetic humanisations, especially in the percussion department. 'Fuego' is the zen roshi's choice, its gaffered, glass-smithed pads topping off a naturalistic percussive surging forward, one best experienced with your eyes closed.
Review: This is a four-track sampler taken from parts one and two of the One Hundred and Fifty Steps VEP series which is all about exploring the rise of 150 bpm dubstep, a sound that characterised by fast basslines, broken rhythms and heavy halftime pulses. From VEP pt. 1, L.A.'s Carre delivers pacey wobblers and then Berlin's Formella debuts with playful breaks and more wobbly bass on 'Dripstep'. VEP pt. 2 features Leipzig's Old Man Crane with their intricate, syncopated style shinning through on 'Grey' and Valencia's Andrae Durden then shows class with a Kryptic Minds-inspired low-end powerhouse.
Review: This new collection offers up a quartet of tracks that are all tailored for slightly different moments on the dance floor. On side A, Dani Casarano kicks off with deep, hypnotic grooves that make for an immersive atmosphere before transitioning to punchy, bass-driven energy with other cuts. Side B introduces a new alter ego from Felian and Bruno Schmidt and the pair explore a robotic, looping groove with incidental breaks and nostalgic synths in the euphoric third track. Closing the release in style, Omar Akrhif & Lucretio present a minimalist masterpiece that is aimed at heady after-hours sessions.
Review: The Distorsion camp offers up its first sampler as a way of teasing you with the sort of quality sounds and artists it has on its roster. First up is a three-way collab between Citybox, Hankook & Orebeat whose 'Dangerous Changes' is an intense breakbeat workout for the peak time. Orebeat & Alex Clubbers keep the energy levels high and inject early 00s video-game style synths, Orebeat & Citybox keep it dark and raw with 'Gangsta' and Orebeat & JottaFrank laced up their thrilling breaks with acid lines and sleazy vocals on "Noche De Paris.' This is potent stuff for strobe-lit floors.
Oscillator Man - "Turning The Mix Up A Bit" (6:29)
Review: Portugal has always had its own thriving scene right back to the days of 90s rave and techno. But in recent times it seems to be having a wider cultural impact with the arrival of plenty of great artists, labels, radio stations and collectives getting proper recognition across the global underground. Just over the Tagus river from Lisbon comes this new label oDYSea from the Caparica coast, and it's headed up by Penelope. GNMR's 'Zen' kicks off with cosmic tech and snappy kicks then Pakzad's 'I Could Never Imagine' is a mid-tempo and warped tech cut with hissing hi hats and psyched out colours. Eversines's 'Randomized Controlled Trial' is taught and trippy techno then Oscillator Man's 'Turning The Mix Up A Bit' is an acid-laced sleaze-fest.
Review: Four new prangers from France's BOOOoo! crew, startling our ears with audio-apparitions by ghosts of the resident French sceno-system: Jamahr, Mooglee, Jucid and Odeon. 'Black Loops' and 'Flex (Booty Mix)' invade elastic terrains of bass and flicky synth, churn them back through meshes of gradated beats and rond-squelching stab notes. 'The Question Is' eliminates much of the A-side's establishing layers and overdubs, harking rubbery and slip-tastic FX design, countered by the equally sticky 'Jimbeldance'.
Review: Koenig Cylinders always kept it hella real with their techno. The pair of John Selway and Oliver Chesler were pioneers of the hard stuff first time around and now that it is back en vogue, why not reissue this classic? 'Untitled' opens with a freaky vocal and eerie synth sound before '99.9' brings a wall of white noise and slamming drum patterns. 'Carousel' is an urgent wall-rattler with cantering drums and rave sires that light up the 'floor and 'Choreomania' shuts down with razor-sharp synths and acid flashes that tickle your brain. Arresting tackle of the highest order.
Review: REPRESS ALERT!: Fletcher and Steve O'Sullivan have often worked or appeared together in the past so it makes sense that the former now invites the latter to be the first person to release on his newly minted and always sure to be worth checking Social Currency imprint. They take the reins together across floor-focussed cuts that are marbled with deep pads and introspective sounds. 'Cold Calling Blues' is warm and airy with smoky vocal sounds and precision dub techno drum loops, 'Midnight At 1:30' hits a little harder but is still zoned out and serene and 'Shatner's Groove' takes on subtle deep space moods with deft pads and spoken word additions.
Review: The Positive Reaction label is looking to build bridges between North Africa and the rest of the world with the music that it puts out. It has roots in both Tunisia and Berlin and has a healthy respect for 90s electronic takes on electro, breakbeat, techno and trance, which all shine through this new six-track VA. OA gets underway with hard-nosed techno, H0ney serves up lashings of peak time energy and BENKHLIFA drills down into the darkness with a blistering baseline and white-knuckle techno intensity. Elsewhere, MZA's 'Thelea' brings more low-end dirt and DEV's 'Love Affairs' brings lush euphoria.
Review: Serenity is a mental health charity label that is now back with more sonic gold, this time in the form of a reissue of Marco Bernardi aka Octogen's 'The Journeyman' from 2008 on Soma Recordings. It is an immersive, emotive sound with lush and ethereal pads and a moody bassline that keeps you locked. The B-side offers two original tracks from Bernardi 'Travelling to the Sun' is one to hypnotise floors with its hypnotic chimes and raw drums, while 'Little Tiny Crickets' delivers a fast-paced IDM twist with some killer synth work. As always, proceeds go to charity this time Papyrus UK who support youth suicide prevention and MusicSpace.
Review: Off/Grid has impressed with his ability to cook up tracks that keep the tension going throughout. He's done it before on the likes of Rotterdam's Arts collective and more than once on Planet Rhythm. This one for another Dutch label brings plenty of texture to opener 'Down The Vaults' which has a fizzy lead prying between the sturdy drums. 'The Movement' is much more bouncy - one of those cuts that gets fists pumping and smiles on faces. 'Protect Ya Deck' is precision-tooled, acid-laced peak time gear for when the whole club is on the same vibe and the strobes are flashing, and 'Never Ready For This Shit' shuts down with some pent-up funk and brilliant syncopated drum work.
Review: Ohm & Kvadrant are back on their Kontakt label to kick off 2025 with another stunning dub outing. Pressed on classic black vinyl, with a limited gold edition also available, this EP features two exceptional tracks starting with the A-side, 'Peblinge.' It's a mesmerising melodic dub creation, rich with warmth and depth-perfect for those late-night sessions. On the B-side, a second jam delivers a refined electro-dub masterpiece, blending synths, hi-hats, and fathom-deep low-end frequencies. Both tracks showcase the duo's signature style with soothing results.
Review: Vuo returns with another entry into his ongoing Ruutana City Mood Series, with this one being on eco black wax but a green vinyl version is also available. Ohm & Kvadrant open with a smoky, textured roller driven by icy drums. Armin Bender follows with 'All Or Nothing' which offers a lighter, more optimistic vibe with airy pads. Tm Shuffle strips things back on 'Efficient Answers' to deliver a gritty, minimalist basement groove. Closing the EP, Gonzalo Villarreal presents 'Curanto', a raw, percussive cut bathed in rich echo and reverb for a captivating close.
Review: Motor City great Omar S is not just a don when it comes to programming drums and laying down his irresistible synth lines and heart aching melodies. He can also play a wide array of instruments, and in fact does just that here as he plays all instruments played you can hear across all three cuts of this new one on his FXHE label. Things kick off with the wonderful 'Featuring Omar S (instrumental)' and then 'Sayoungaty Nig' is a hazy, lo-fi ambient sound with occasional synth smears and a barely-there rhythm implied by the odd kick drum sound. 'Featuring Omar S' is a signature deep house joint with bristling metal hi-hats, rickety drums and edgy drones that keep you on edge as more soulful chords rise up through the mix.
Review: You might think that Yassin Omidi is a newcomer, but in fact it is the new-coming of an already accomplished and respected head who now delves deep into the world of dub techno on Steve O'Sullivan's Mosaic. The beatless 'Sluder Dub' is coated in heavy fog and static with conscious vocal musings and the roomiest of chords landing with great drama and tons of echo. On the flip is another analogue sound that features buffed metal dub chords, classic effects and a shapeshifting ambient hiss. It's dramatic despite being such a minimal piece.
Review: SIKU's various artists offerings always result in a nice and varied sound across two sides of vinyl and the sixth such drop is another one worth of attention for techno heads. Onoffon opens with 'Matter What' which rides on raw drums with slapping hits and stark synths, while Sebastian's 'Dreams Metaphors' has a ghoulish energy and dark, twisted synth menace. Rufo brings some cosmic wonder and bleeping melodic sequences to 'Mr Wonderful' and Brian Topham's 'Expressive Dimension' is a straight up tool with burrowing leads.
Review: Rich Jones is the man behind Operator and he's been making increasingly potent waves with his own label Gnosis Records as well as outings on Singular Records. This outing on Munich's Ilian Tape is a great example of his sound: 'Mall To Beach '80' is vamping chords and hammering hits over hunched up drums, 'Deliberate' cuts more loose but is still a brilliantly loopy workout and 'Wanderer' brings thrilling, high-speed tech that skates on daddy drums and is wired up with electricity. 'Sector Seven' shuts down with more airy and floating rhythms. Sublime.
Review: Coorreente Belgium delivers a compelling slice of modern techno with 'Interlink', a four-track compilation that dives deep into rhythmic exploration and sci-fi atmospheres. Each cut offers a unique perspective, yet together they create an excellent and cohesive experience. Orbe's 'Jaxa' kicks things off with a spacey, melodic groove. The track's sci-fi techno aesthetic is underscored by rhythmic intricacies, creating a sense of forward momentum through the cosmos. It sets the tone with a blend of dreamlike melodies and pulsing beats. 'Refraction' by PTTRNRCRRNT follows, venturing into tribal territory with creative, off-kilter rhythms. Alien-esque warning sounds weave through the mix, adding a sense of unease and mystery that keeps listeners on edge. On Side-2, Deluka's 'Axis' plunges into subterranean techno with a deep, hypnotic vibe. Elements of trance filter through crisp production, guiding the listener on a spacey, introspective journey that feels both grounded and ethereal. Jorge Flukso's 'Synaptic' closes the EP with a nod to classic underground techno. Its dynamic, brooding build recalls the raw energy of Surgeon's warehouse bangers. The track's evolving layers and relentless drive create a late-night atmosphere perfect for dark, crowded dance floors. 'Interlink' is a well-curated snapshot of techno's diverse spectrum, balancing the cerebral and the physical with finesse. If you are one that thinks techno has been over-saturated the last decade and that there is no good techno coming out anymore then I would check this EP out.
Review: A cornerstone of early 90s electronic music, Orbital's Lush resurfaces with renewed energy through the Orbital LEDs reissue campaign. Originally released in 1993, the EP is a masterclass in melodic techno, featuring the iconic 'Lush 3-1' and 'Lush 3-2', two seamlessly interwoven tracks that exemplify the Hartnoll brothers' knack for crafting emotionally resonant, rhythmically complex soundscapes. Reissued on 12" with striking new artwork by Intro, this edition includes heavyweight remixes by Underworld and CJ Bolland, whose reworks push the tracks deeper into the club stratosphere. Underworld brings a dense, propulsive momentum, while Bolland injects a sleek, hard-edged urgency. Yet it's Orbital's originals that remain the centerpiece. Those epic gliding arpeggios, layered synths and rolling percussion conjure both introspection and euphoria. A vital part of their Brown Album, Lush helped define the progressive techno movement, influencing generations of producers. Three decades on, the tracks still pulse with a timeless vibrancy.
Review: UK rave pioneers Orbital are revisiting their early 'Brown Album' EPs with the launch of a new and ongoing Orbital LEDs ('Limited Edition Drops') series. These 12"s are being re-issued with newly commissioned artwork by Intro. This one was originally released in September 1992 and is one of the group's most famous because it contains their most iconic track 'Halcyon' which blurs ethereal vocals with hypnotic breaks that define 90s dance music and still get huge reactions to this day. The EP also includes 'The Naked and the Dead' which is a darker techno track, plus 'Sunday' and the previously unreleased dub version of 'The Naked and The Dub.' Essential.
Review: UK electronic innovators Orbital have been revisiting their early roots with Orbital LEDs, a limited-edition series remastering their old greats. Now fully remastered and paired with striking new artwork by Julian House, the latest drop highlights the duo's groundbreaking early sound when tracks like 'Midnight' innovated with a blend of hypnotic house rhythms and minimalist influences from Philip Glass and Wim Mertens. Also included here is 'Choice' which stands out for its anarcho-punk edge and bold vocal sampling. Paul Hartnoll has often said he aimed to inject house music with a sense of rebellion and social commentary and these reissues reaffirm Orbital's ability to do that while pushing boundaries from the start.
Review: Giammarco Orsini and Intheismah join forces on a release that melds hypnotic techno with progressive and electro-EBM influences. Shadowy textures and haunting rhythms lay the groundwork, while immersive melodies thread through each track, creating a deeply atmospheric listening experience. The fusion of genres feels deliberate and powerful, with a clear intent to captivate the dancefloor. This is a soundtrack for the season's darker moods, where subtle shifts in rhythm and texture keep the energy simmering while hinting at the after-hours spirit that defines the best of contemporary techno.
Review: Madrid's Oscar L and Sofia's Metodi Hristov come together for a heavyweight two-tracker that stretches the Drumcode sound between two distinct techno poles. 'Gravity' crashes in with brute-force energy: jagged hoovers, a fluttering chopped vocal, and thick industrial textures square up in a storm of distortion, like two machines locked in dissonant conversation. It's cinematic, dark, and demanding. 'Up & Down' keeps the pressure on, bursting forward with piston-fast percussion, cavernous reverbs and a flickering synth motif that teeters between menace and euphoria. A spoken male vocalistark and monotoneigrounds the track with a cold-eyed edge. Techno as terrain: Madrid's pulse meets Sofia's shadow.
Review: Image Recordings continues to establish itself in the techno world, this time with Other serving up some sounds that nod to the 90s but never get too slavish. 'By No Means' is one of those busy, jostling cuts that makes you wiggle ass, head and hips as you get lost in the looseness. 'Full Compliance' is a wonky one for the afters with bubbly bass, 'We Didn't Know' then strides on with loopy pads and cantering drums that exude a cool energy and 'It's Wicked' shuts down with more textured percussion and fractured vocals for a freaky finish.
Review: The new EP from Image Recordings makes up their third release since their start in 2023, marking out an impressively chill but still poised undertaking in surreal funky techno. Evidencing on their part a keen understanding of the meditative instillations sought by DJs at the early outset of the UK techno explosion. Every track is swung and prescient of the UK funky sound that would emerge later, though this record doesn't quite qualify as UK funky since the latter sound is marked by a soulful (often vocal) influence of jazzdance; rather the likes of 'Same Being' and 'Life In The Shade' are strange ones indeed, with a strangely nocturning, mechanic, speechless quality.
Review: Ovatow is one of several aliases from the DJ, producer, graphic designer and Frustrated Funk label head also known as Klen. It is one he saves for dubbed out solo experiments and this EP first dropped back in 2007. It stands up now though as a tasteful Collins of electro, dub and techno. 'Flame' kicks off with wobbly synth hooks and ice-cold analogue beats. 'Visitation Dub III' then sinks down into a moody, grainy and lo-fi world of deepest dub and 'A Thought' flips the vibe again with a bright and busy electro workout. It pairs the coldness of machine hits with the liquid soul of some lush synth melodies. Classy stuff, for sure.
Review: Gale-force sonic apneas from Planet Rhythm, the label and unstoppable phonic force from Rotterdam. The imprint's latest V/A release in the Dubwars series this time takes on its own name, 'Minerals', and welcomes rambunctious techno troilers from the likes of Unknown Code, OFF / GRID, and Luca Accardi. Rhythmically dragged, diminished stab-chords define the A1 and A2 against metal girdered kick patterns, with 'Moment' especially nailing that ever-sought-after sweet spot of energy and anhedonia, a mixed feeling perhaps only achievable within techno's ambit. Dub techno inflections turn to infarctions, as Accardi's 'Minerals' sucks the sonic substrate dry with ballistic echoes, giving way to Gockel's minimal mountaintop NDE, 'Meditation In Tibet'.
Review: Premade heavyweight Obscure Shape and classically trained musician Conrad team up; Berg Audio proudly welcome them as a new duo addition to their roster, together under the name Urban CC. Throwing back to real-deal minimal-ambient techno of a steezy kind, something between Maurizio, Move D and Ghost, 'Pegasus' and 'Marly' cycle through fluttering dub techno and 1-2-step garage respectively, the latter bringing an eyebrow raising combo of yearnsome garge vocal science and pulsewidth techno shots, post-drop. 'Hadban' sneaks a cheeky drum & bass bullet train onto an otherwise techno-centric platform, marking Sleepnet-style vocal etherics and sold-on-us liquid. 'Shagya' finally restricts the mix, with a dubtech-house full of beeping, filtered vocal shouts; a Strictly Rhythm-meets-Chain Reaction contraction.
Review: The third and final chapter of R3volution Records' 3volution trilogy is a powerful meeting point between past and future. Bridging sci-fi-laced techno with 90s minimalism, it features deep sound design and muscular drum patterns that combine for real club potency. UVALL from Tbilisi offers refined, deep rhythms with his cut, then Operator brings seasoned UK innovation and label co-founder Divide delivers precision and weight with global pedigree. Elsewhere, Belgium's PTTRNRCRRNT tunnels through textures with futuristic, conceptual drive. Each track is a standout weapon but together they make for a cohesive, forward-thinking statement from a label closing its vinyl trilogy on a high.
Review: With a title inspired by the utterances of The Oracle of Delphi, a cult of female priestesses who reportedly "changed the course of civilisation" by inhaling volcanic vapours, it's clear that Lee Burtucci and Olivia Block's first collaborative album is rooted in paganistic visions and experimental mysticism. It's comprised of two lengthy tracks, each accompanied by edited 'excerpts', and combines Burtucci's experimental synth sounds and tape loops with Block's processed vocalisations and hazy field recordings. Dark and suspenseful, with each extended composition delivering a mixture of mind-mangling electronics, creepy ambience and musical elements doused in trippy effects, it sits somewhere between the charred "illbient" of DJ Spooky and the deep space soundscapes of the late Pete Namlook.
Review: We didn't see this coming but we're very much delighted it has: the peerless dub techno don Steve O'Sullivan with a full length of past triumphs and unreleased gems on Nina Kraviz's always adventurous Trip label is always going to be worth hearing. The Brit stretches his legs and pulls out all the stops here to cover plenty of ground while reaming true to his signature sound design excellence: bouncy, minimal but strobe-lit cuts like 'Kesk', twisted 90s techno sounds like 'Grun', barely-there IDM-adjacent sounds like 'Groente' and ice cold dub cuts like 'Botala'. A real masterclass.
Review: Ocean Moon, the alias of Cornwall-based producer and Lo Recordings founder Jon Tye, presents his latest offering, an ambient electronic work imbued with a gentle positivity. Tye, also known for his work with the UK ambient duo MLO, explores themes of artificial intelligence and consciousness evolution throughout the album. Side one delves into AI through a philosophical lens, drawing inspiration from Buddhist perspectives and texts like 'The Physics Of Immortality' and 'Novacene'. Tracks such as 'Ways To The Deep Meadow' and 'Souls Fall Away' offer a refreshing counterpoint to the often-negative portrayals of AI, radiating a sense of optimism and possibility. Side two features two extended compositions created for visual projects. 'Made In Dreams', utilising AI technology, creates an ethereal, warm atmosphere and 'An Ending Full Of Light', composed for Vix Hill Ryder's Wild Edges film, evokes a sense of serenity and resolution. Subtle melodies and delicate touches help craft music that truly nourishes the soul here.
Review: 'Power Starved/Human Waste' is as scary to hear as it is to read the track title. As far as album openers go, it certainly sets the scene vividly. A dark, dystopian, murky futurism where people - or at least their ears - listen from beneath the boot of oppressive forces, inaudible vocals echoing and expanding, reverberating and dissipating into a distance we can never really hear because of how forceful foregrounded sounds are. Industrial, EBM, noise, elektro-punk. There are many ways to describe what's here but they all point to a 21st Century cloaked in darkness and anxiety. The irony, of course, is that this is a very human expressionism, despite the harsh machines that seem to dominate the soundscapes. The distorted screams and thumping bass drums of 'Safety Net' perfectly summarise the point.
Review: Swiss imprint WRWTFWW continues to do deep dives into the forgotten corners of electronic music history, returning with shining sonic pearls of genuine historic significance. Here they deliver a first ever vinyl pressing of early Japanese electronic music producer (and bona fide experimental hero) Yashio Ojima's 1983 album Club, a set that was originally only released on an exceptionally limited cassette. Given its vintage, the album has held up incredibly well, in part because its unique, unearthly blend of minimalist electro, music concrete-inspired loop experiments, off-kilter ambient soundscapes and picturesque, post new-age soundscapes remains as far-sighted and unusual in 2024 as it did 41 years ago.
Review: After deciding to sidestep off-kilter bass music bangers in favour of exploring the more experimental side of his musical personality, Jim Coles AKA Om Unit has seen his career get a deserved bump. At the heart of this transformation has been the superb Acid Dub Studies series of albums, which here reaches its third and final instalment. Like its predecessors, Acid Dub Studies III offers an enticing mix of weighty digi-dub 'riddims', deeply psychedelic TB-303 trickery, boisterous dub-leaning bass music grooves, trippy effects aplenty and some of the most immersive sound design around. Yet while there are some genuinely weighty and forthright dancefloor moments - see the rugged 'The Chase', bouncy 'Hungry World' and steppas-powered 'Usurper' - Coles also finds space for warmer and more loved-up excursions, with the gorgeous 'Lost & Found' standing out.
A Piece For Orchestra (Count All The Stars) (3:20)
Water Piece (4:32)
Clock Piece (1:34)
Bicycle Piece For Orchestra (7:07)
Pieces For Orchestra - No 4: Tear (2:48)
Pieces For Orchestra - No 5: Touch (2:18)
Pieces For Orchestra - No 6: Rub (0:50)
Wood Piece (1:37)
Wind House (7:09)
Sweep Piece (1:23)
Overtone Piece (5:09)
Question Piece (8:33)
Disappearing Piece (4:50)
Review: For the first time on vinyl, through Karl Records, comes a limited edition and furtive Yoko Ono retrospective, in conjunction with the over-100-strong, Sweden-headquartered ensemble and community network The Great Learning Orchestra. These unlikely recordings were made at the time of the musician and performance artist Ono's 1964 multimedia collection Grapefruit, a cornerstone of what would later become known as "conceptual art". Grapefruit itself is a large artist's book, with a large vellum spine and browned parchment paper; it contains a series of "event scores" that outline, rather than permit the performances of, many different performance art pieces. The effect is apocryphal and ominous, as though the real performance of these instructive works may have accursed or deleterious effects. "Like a musical score, Event Scores can be realized by artists other than the original creator and are open to variation and interpretation"; and yet, Ono's book is a one of one, having never been reproduced or thus made collectable. Pre-dating John Cage by about a decade, the "event scores" described therein have now been performed by The Great Learning Orchestra, where hardly any of the performances / pieces have ever been captured sonically or laid to disc. This record changes all that, realising Ono's bewildering text instructions as tremulous suites, made up of clattering material hits and harrowing string instrumental assaults.
Review: Calling the curtain on Field Records' Waterworks trilogy, Yui Onodera turns his ear to confluences of hydrology and history, dedicating his latest record to Japan's Kiso Three Rivers and their transformation by 19th-century Dutch engineering. The Kiso, Nagara and Ibi rivers, once prone to catastrophic flooding, were reshaped under the guidance of Johannes de Rijke, whose work helped protect Nagoya from seasonal deluge by 1912. Onodera, known for his nuanced sound architecture, approaches this subject with a finely honed ear for subtlety, layering quiet field recordings with fuller instrumentation, evoking the widening of a river from brook to strait. The A-side's bell tones provide a sensory-meridian intimacy, processed alongside guitar, and ethereal pads; while the B-side's contradictorily colossal quietude makes itself across two long-form studies, which drift through sampled water and restrained electronics.
Review: Originally released in 1993, seminal UK duo Orbital's Brown Album marked a bold leap forward in emotional depth and sonic ambition for electronic music. Tracks like 'Halcyon + On + On,' 'Impact (The Earth Is Burning)' and 'Lush 3-1/3-2' showcase the duo's masterful blend of driving rhythms and lush melodic textures. It was hailed as an instant classic at the time and made Mixmag's Best Dance Albums of All Time list. It has endured well over the last 30 years and is now reissued on vinyl for the first time in a decade, with a half-speed remaster and new liner notes by Andrew Harrison.
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