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 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: Trident is dropping a couple of top EPs this month. One is from Derrek Carr, and one is this double white 12" that finds Deltamaxx and O En One join forces. They take us on a storytelling trip through cosmic techno that varies in mood and tempo. 'Conexxion' rides a nice rubbery, bumpy groove with incidental and wispy synth sounds, then 'Delta Pavonis' seems to soundtrack a beach party up amongst the stars. There are darker, more heady cuts like 'Donnager' and icy electro cinematics on 'Isonoe' to make for a worthy collection of sounds that work on the dancefloor and beyond.
Sanderson Dear - "A Place For Totems" (extended version) (6:10)
Review: Sanderson Dear's Stasis Recordings released the original Time Capsule compilation in 2020 - a 20-track exploration of ten different ambient techno artists exploring two ideas each in compact form for a box set of 7"s. Now the label has revisited some of the project's standout moments and offered a chance to enjoy extended versions gathered on a single 12". From Maps Of Hyperspace shaping out atmospheric halls of synth work on 'Beta' to Glo Phase offering some gorgeous, sparkling grooves on 'Fire Flies', there's plenty of ground covered on this release. Of course the mighty John Beltran is a big drawer too, and his typically stellar 'The Descendent' doesn't disappoint in its full extended version.
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.
Grasslands (feat Mitchell Yoshida & John FM) (5:41)
Visions Of You (feat Mitchell Yoshida & John FM) (5:56)
Totall Recall (feat Mitchell Yoshida, John FM & Carla Azar) (2:29)
Car Dates (feat Tyesha Blount & Carla Azar) (4:22)
Slide (feat John FM, Mitchell Yoshida & Billy Lotion) (6:18)
Keeping Me (feat Mitchell Yoshida, John FM, Troialexis) (5:41)
Growing Old (feat Mitchell Yoshida, Amir Hasan) (6:02)
Morning Ride (feat Mitchell Yoshida) (5:35)
Selinho Na Calcinha (feat Alexia Bomtempo & Mauro Refosco) (11:53)
Saturn Eats His Young (feat Supercoolwicked) (3:57)
Review: If anything, the hugely prolific Motor City mainstay that is Omar S seems to be getting even more prolific as time goes on. His vast catalogue grows once more here with Fun House, which finds Alister Fawnwoda exploring a wide range of dance music styles alongside guests such as FXHE regular John F.M., plus Mitchell Yoshida, Super Cool Wired, Troi Alexis, Tyesha Blount and more, with all the production, lyrics and mixing taken care of by Omar S himself. The tracks range from seductive deep house to edgy mechanical techno, dubbed out downbeat joints and smooth electronic Detroit soul. It is yet another crucial chapter in the FXHE and Omar S story.
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: Odopt's Snaker 011, the first release in five years by Snaker and the tenth in their catalogue, marks a compelling full-length debut for the duo. Known for their hypnotic and freaky sound on labels like [Emotional] Especial, Hivern Discs, and Born Free, Odopt delivers a "contemporary library sound" for Snaker Records that defies conventional dancefloor or home listening categorizations. Instead, it offers a unique cinematic soundscape for a fresh auditory experience. Highlights include 'Antimilitarist,' with its experimental broken beat that's subdued yet intriguing. 'Barfold' presents a movie-like quality with a unique groove and production. 'Spakra' features a dark, slow groove with metallic sounds, echo, and a slight EBM influence. 'Mangrove' stands out with its otherworldly, alien sounds. 'Orch Noise' rounds out the album with its atmospheric and distinct character. For those seeking something different and unique, Odopt is here for you.
Review: Six brand new shakers from Omar S...This is the sh*t! Never confined to one particular genre, Omar is again blending house, techno and even minimal styles into one big pot of deep Detroit underground funk. There's even some Basic Channel / Deep Chord vibes going on there somewhere. Simply killer.
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
In My City (feat John FM - Rick Wilhite mix) (6:27)
Don't Leave Me Standing Yeaa (5:44)
Mell'like Boom Boom In'dair! (4:28)
Washtenaw County Horn Section (6:03)
You Gotta Beat The Clock (4:24)
Simply (7:16)
Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).
A Toast To Momma Rose (Crowd Claps Jacked By Norm Talley)
That's Lil'Boy (feat Ian Finkelstein)
Second Life (feat John FM)
The Sound Of Neptune
Don't Get In My Way
This Love Is 4 Real
Oops
Hear Me Out (feat John FM)
Ambiance (feat John Cloud & L'Renee)
Coming Home Hum
1993
Review: Those who've been paying close attention will know that Alex 'Omar' Smith has been mixing things up musically of late, veering away from the deep Detroit house he's famed for in order to explore a wider range of influences. New album "You Want" doesn't exactly reverse this trend, but it is far more rooted in his particular brand of seductive, off-kilter deepness and techno-tinged hypnotism than recent singles. That's undeniably a good thing, because nobody does crunchy, machine driven club jams better than the Motor City producer. There are nods towards Italian style piano house, disco, broken beat, jazz funk, Masters at Work and - more surprisingly - industrial techno (see the filthy closing cut) - but the resultant cuts don't sound like anything other than tried-and-tested Omar-S club jams.
Review: Oasis Collaborating is the name of two different double albums that Omar S and Shadow Ray put out under their Oasis alias back in 2005. They are both hugely original and essential works of stripped back Motor City house music perfection. This one is packed with gems like the wispy pads and metallic synths of 'Oasis Fifteen', the low slung rawness of 'Oasis Seventeen' and the brightly, optimistic melodies and twanging chords of 'Oasis Twenty Five'. Each of the tracks sounds like they were recorded live, with two masters of their machines just jamming away, tweaking knobs and cooking up pure house magic.
Review: It may have taken a while - his massive debut single 'Hyph Mngo' was released 12 years ago - but Joy Orbison has finally got round to recording his debut album. It's a highly personal affair, peppered with speech snippets from various family members (including his mum, dad, sister, cousins and famous uncle, Ray Keith). It's a narrative device that works well, providing a unifying thread throughout a woozy, musically eclectic concoction that sees the now veteran UK producer give his distinct spin on ambient, slow house, two-step garage, deep house, post-dubstep beats, dubbed-out soundscapes, British bass music, experimental electronica, cutting-edge deep D&B and much more besides. It's perhaps not the all-out assault on the dancefloor some may have expected, but it is a genuinely brilliant and entertaining album.
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.
Review: Although their debut single 'Chime' hit the UK top 20, it's the duo's iconic second album in 1993 that marks the moment when the Hartnoll brothers transcended the UK rave underground and became bona fide electronic superstars. This faithful reissue brings back a record that didn't just capture the spirit of the time i it helped shape it. The Brown Album takes Orbital's sound to a new level of sophistication and emotional depth. Tracks like 'Halcyon + On + On' are serene, dreamlike soundscapes that remain some of the most beautiful in electronic music history. Meanwhile, 'Lush 3-1' builds and blossoms with hypnotic layers, a masterclass in dynamic progression, a perfect balance between transcendence and tension. 'Remind' and 'Impact (The Earth Is Burning)' are pulsing techno beasts that dip and drive, blending rave intensity with atmospheric richness. Each track flows into the next with seamless ease, crafting a journey that feels both epic and intimate. The Brown Album isn't just a milestone in Orbital's career i it's a timeless work that continues to influence electronic music today. Essential listening for anyone who wants to understand the genre's evolution.
Ringa Ringa (The Old Pandemic Folk Song) (feat The Mediaeval Baebes) (4:13)
Day One (feat Dina Ipavic) (5:15)
Are You Alive? (feat Penelope Isles) (7:34)
You Are The Frequency (feat The Little Pest) (4:37)
The New Abnormal (5:08)
Home (feat Anna B Savage) (4:13)
Orbital & Sleaford Mods - "Dirty Rat" (5:16)
Requiem For The Pre Apocalypse (7:42)
What A Surprise (feat The Little Pest) (4:37)
Moon Princess (feat Coppe) (5:04)
Review: After the 30 Something retrospective that landed during 2022, comes a new Orbital album proper, Optical Delusion, set to be accompanied by a busy summer of gig and festival dates by the looks of it. The album's taster single 'Dirty Rat' was a corker, too, full of post-Brexit/Boris bile and a biting vocal from Sleaford Mods frontman Jason Williamson, not to mention some striking Orbital musical trademarks. It could well point the way forward for more interesting collaborations - perhaps taking a leaf out of Leftfield's book - on the album, though only time will tell. Either way, a serious portion of new material from one of the dance world's most enduring and best loved acts will be feverishly anticipated.
Review: Orbital remain titans of the global electronic scene which is no doubt why their self-titled album from 1991 now gets mastered and reissued for this year's Record Store Day. A pioneering work in electronic music, this landmark debut is a rich world of driving drums, hypnotic melodies, and intricate soundscapes. From the propulsive energy of the seminal 'Chime' to the dreamy ambience of 'Belfast,' each track showcases the duo's mastery of rhythm and texture. Orbital's use of innovative sampling techniques and atmospheric synths creates a distinct sonic universe that still stands them apart and helps make this a timeless classic that has influenced generations of electronic artists ever since.
French Audacity - "The Final One" (feat Valerie) (4:34)
DJ Spike - "Gaps In Space" (2:55)
Interdance - "Kurz" (5:25)
Bad Behaviour - "Living On Smoke" (Edgware mix) (4:09)
Frequency - "Systematic Input" (4:53)
Diffusion - "Lushes" (5:49)
MFA - "Blue To Be Happy" (7:18)
RIP - "EOPan" (5:49)
Mad Professor - "Oh Hell" (4:02)
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: Overmono have become real techno darlings in the last two years. And rightly so - they have served up a fine run of EPs in that time which now brings us to their debut album Good Lies. They are also an award-winning live act who have brought new energy and invention to techno as well as a next level grasp of sound design. As such the pair are two of the most revered artists in the UK with a hardcore fan base who pack out their every gig. They will find plenty to love here on an adventurous record that features all the hallmarks you would expect of this duo as well as plenty of freshness.
Review: 'Dreamstate' is Kelly Lee Owens' fourth studio album, hinting at a relatively bouncier electro-pop direction - in stark contrast to her much demurer, rougher-hewn earlier albums. Owens comments that Dreamstate is "the sound of a person letting loose and letting go while encouraging everyone else to do the same." Whether this necessarily results, for musicians, in an increased orientation towards chart-worthiness, remains to be seen, but we'd say this has certainly worked in the case of Owens, whose new forerunning singles 'Love You Got', 'Higher' and 'Sunshine' combine overcast dance productions and pristine angel voices from Owens herself, resulting in a much brighter yet equally thunderous sound, and 'Sunshine' is our favourite, future-avant progressive house number here.
Review: Kelly Lee Owens' fourth studio album marks a significant shift in Owens' musical journey, embodying themes of freedom and escapism. Dream State emerges from a period of inner transformation following a break-up, and is a testament to collaboration, featuring producer-writer contributions from electronic music luminaries Bicep, Tom Rowlands of The Chemical Brothers and George Daniel of The 1975. The synergy between these artists infuses Dreamstate with a rich, dynamic sound that blends Owens' ethereal vocals with innovative electronic beats and lush production. A range of emotions and sonic landscapes, offering both introspective and liberating experiences.
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