Back catalogue: UK Garage

Review: FOXBAM INC is back to build on the momentum of their first EP with a second one that packs a mighty punch. This one kicks off with EBY, who this year has been cooking up acid for 40 years and here offers the warped low ends and garage-techno power of 'Goldtooth'. Foxtrot vs Ma Bla then mashes up old school samples with earth-shattering bass on 'Deep Down Inside' and bRz vs Stije is a double-time hard techno stomper with warped synths and twisted bass that is inspired by and named after ISCO, a concept from Einstein's general theory of relativity that makes predictions about the dynamics of black holes.

Review: Warehouse Tools takes listeners on a nostalgic journey through the vibrant world of UK house music, showcasing the iconic sounds of Hooj Choons. Opening with Farayen & Liam Parkins' 'Where Do We Go (Jamie Unknown Remix)', the track blends high-energy euro house with New York-style house rhythms, offering a dynamic trip back to the early 90s. Dan Newman's 'Movin'' follows with a melodic Balearic progressive house gem, featuring heavenly piano moments paired with a serious beat that creates a dynamic vibe. On the flip side, Dean & Di After's 'Wicked Dreams' brings retro energy to the forefront, evoking the essence of house music's early days while offering a fresh perspective. Finally, Shade Guevara's 'Ted or Dead' delivers a piano-driven breakbeat, showcasing a vintage sound that encapsulates the roots of house music. This compilation is a well-crafted tribute to the genre, perfectly balancing nostalgia with contemporary energy.

Review: The brand new Mush Trax label makes a head-turning debut here with some naught garage and house cuts from the depths of Dorset. Footprint opens up with the straight-up shuffler that is 'Light It Up. It's got old school flavours all over it - the piano stabs, the original Chicago house vocal and the melodies. It's the same story with Dunman's 'Hot' with its filthy backless bass stabs, yelping vocal cries and steel-plated US garage drums. Completing this highly effective EP is Ash Brown with another throwback garage anthem in 'Whompa.'

Review: Gun fingers should very much be locked and loaded before you drop the needle on this eight volume of the 2tuf 4u label's Undeniable Grooves series. It's another rich various artists affair that covers all bases: Johnny U-Tah keeps things dry and 2steppy with 'Sun Comes Up' and Fresh II Waves then bring a US garage feel with the horn stabs of 'Scream N Shout.' Confused Identity & Gungo Peas's 'U Gotta Mov' is an irresistible lithe and nimble garage shuffler with cut up vocal stabs and Stixy D & Tempreture keep it deep, low-slung and dubby with their late night gem 'Camden Palace.'

Review: UK label Rezpektiva unearths another gem from the archives, this time shining a light on Fade 2 End, the elusive duo of Nick Woolfson and Mark Shimmon. Their output may have been limitedijust two releases in 1996ibut what they left behind is a masterclass in deep, rolling, late-night techno. 'Sundance' sets the tone with its undulating rhythms and hypnotic loops, while 'The Passage' weaves together tough beats and drifting synth lines. 'Dreams' and 'Daze' lock into a mesmerising groove, all heady atmospherics and resonant grooves. On the flip, 'Another Day' and 'Another Night' explore the contrast between euphoria and tension, their hypnotic vocals pulling the listener deeper into the groove. 'Feel The Magic' rounds things off with a shimmering, dreamlike quality, balancing lush pads with crisp drum programming. Fade 2 End had a rare touchitracks that feel alive, shifting and evolving as they play out. Now, thanks to Rezpektiva, these lost classics finally get the attention they deserve.

Review: Drew Lustman's longstanding FaltyDL moniker makes a welcome return with a debut full length record for the eminent Central Processing Unit label. In The Wake Of Wolves deconstructs Lustman's usual rough dance sound for a less predictable album-length breakdown, retaining his usual arid textures while playing up the more sound-designed and maximalist ends of his craft. In the pithy words of CPU: "This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound." Whether you totally agree, you'd have to agree FaltyDL has at least taken on something of their contemporary future-pop/digisonic aesthetic and incorporated it into his own; this is most evident on the glassy pirouettes and gladiate complexities of 'Minds Protection', or the tenebrous post-punk descensions of 'New Friends', or many maximized IDM trap-doors and toolroom hard-clips of 'Workout'.

Review: US house legend Dennis Ferrer's debut album The World As I See It was a masterclass in soulful, emotive house music that really cut rherough when it arrived in 2007. Blending gospel, Afrobeat, and deep NYC roots, Ferrer avoided big-name features in favour of fresh vocal talent while delivering heartfelt tracks like 'Run Free' and 'How Can I Let Go.' The iconic 'Son of Raw' and 'Underground Is My Home' bring dancefloor fire, while 'Change the World' and 'Dem People Go' showcase Ferrer's cultural depth. With rich percussion, fat basslines and sincerity throughout, this isn't just a house albumiit's a powerful work that transcends the club and still bangs today.

Review: If there is a more hyped artist in the world right now than Fred... again we aren't sure who it might be. The lad who grew up close to Brian Eno and has since worked with him in the studio is a global star who has also collaborated with Four Tet and Skrillex, played all over the world, won various awards and dropped several albums now presses up his acclaimed USB to gatefold double vinyl. It is a collection of his early singles that captures his lo-fi, lived-in, diaristic sounds across a range of experimental electronic styles.

Review: Fred Again's new LP Ten Days is decidedly minimal in both visual and sonic feel, making for a well-put-together exercise in chic dance summeriness, one that manages to feel, paradoxically, nostalgic for the present moment. If the crux of Fred Again's appeal rests our vicarious enjoyment of his evidently voracious enjoyment of life, then this is equally as reflective in the music here, with 'Adore U' skimming through pitch-warped vocals sampled from Obongjayar's live performance dedicated to his sister and mum, as if to immortalise them in a rush of frenetics and lightness of being, and 'Ten' equally playing up the bare skeletals of snap-rims, warbly samples and ever more pitch-effecting, this time on Jozzy's vocals. Less earnest than his outing with Brian Eno, and more dedicable purely to the young adult gaieties of summer, Ten Days marks a little over a weeks' worth of fun, tinged with a tiny hint of melancholy.