A malevolent scorcher, with Middle Eastern percussion harking back to Hamas Rule; a ravening, scrabbling T++ remix. And a new departure — rich and spry, computer-unbound — with a truly epic, stunning Mordant.

An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto, recorded between 2006 and 2009.

Spare, slow burning soul with Jimmy Jam and Terry Lewis at its core, from 1989 Detroit, courtesy of the Inner City milieu. On the flip, the dubwise club mix of I’m Losing Control is ace Motor City house, with heavy, grooving bass, splashing drum machine, and driving-by-night keys.

Featuring James Massiah from Babyfather.
The flip is pure terror, with John T. Gast in the mix; heavier than lead, dreader than dread.

D.K. and Low Jack.

Another superb EP by deejays Sentena and Spence, combining fresh takes on Berlin-school dubwise techno with grooving, taut, hard-edged house.

Four experiments in Pisan beat science — fleet and swirling at the limits of its dancefloor idioms, but faultlessly grooving with the hypnotic charge of classic techno, and flashing a precious combination of exquisite, confident melodicism and ruthless intensity.
Beautifully presented in stickered yellow sleeves with PVC covers, inserts and stamped inners.

Luigi Pirandello provides the conceit for the tenth Baroque Sunburst: his thinking about masks, duplicity, and ensnarement; the idea that ‘self’ and ‘identity’ are unattainable plenitudes; that we are all trapped behind masks and other concealments.
Hence each of the four tracks is designed for playback at either 33 or 45 rpm. Maschera itself is a half-time stomper with the slithering grace of a snake, intricate IDM refrains, and riddling drum patterns. Trappola is melodic hide-and-seek, with a stately, captivating tribal rhythm which slowly gathers intensity. The snake returns in Specchio, biting its own tail in an endless birth-death infinity mirror… before KRSLD brings the curtain down with a dubwise, dancehall rework of the opener, teasing the snake into the open. Or does it?

Epic, protean brilliance from the Sotofett corner, bumping nylon New Age and ill Chill Out up against reggaeton and jungle exotica, spilling batucada-style percussion workouts out of clean-heeled house.
Each side spins the wheel and introduces a new collaborator or two — Phillip Lauer from Tuff City Kids is here; Gilb’r from Versatile (on a new version of Pulehouse)...
The knockout punch is there on side three: Nondo — which means ‘Heaven’, ‘Eternity’ — starts out as an electro-lullaby from Côte d’Ivoire, sotto voce and abuzz, before lifting off as a zinging, anthemic, future-house-classic.
A real tour de force all round, gusting in from Moss.

Three murderous steppers dubs on a propulsive, rat-tat-tat rhythm, combining mystical spaciousness with detail and ferocity. Angry-lion bass and smears of brass, fusillades and explosions, scares and shocks, oriental pentatonics, clattering percussion and synthy transcendence… the business. The second mix is nastiest; the third is the wildest and most discombobulated (and our favourite).
Bim bim bim.