Back catalogue: House

Review: Harrison BDP is in playful form on his latest release, which sees the long-serving deep house producer don a new alias: Parrish Bond, a 'tache-sporting secret agent turned crate digger whose Hollywood-worthy missions leave him "no time to dig". Silly set-up aside, the music on show is top-drawer, particularly opener 'Always Take The Stairs', a kind of tribute to Guerilla-era British progressive house piled high with short, tight acid lines, deep organ bass, manipulated choral vocal samples. chunky beats and waves of electronic melodies. He reaches for the TB-303 once more on the more hypnotic and ghostly 'FickleB', before going all exotic, twisted and hazy on the undulating bass, bubbly acid motifs and interlocking melodies of 'I Prefer It May Way'. The name's Bond, Parrish Bond and he's licensed to thrill!

Review: FXHE maintain their monthly heat emission for 2012, with label boss Omar S displaying all aspects of his production prowess (as well as skill for a humorous track titles) across four productions - one of which features the button bashing assistance of one Patrik Sjeren. There's something icily brilliant about the restrained "Income Tax Refund Dance" melding a dark piano riff with snapping 808 kicks and rippling lo fi rhythms which only further justifies the title of Omar S's killer 2011 LP. It's complemented by the far rowdier box jam "The White Castle Song" which jackhammers a simple yet highly flammable key riff over low rent percussion for FXHE's most potent ode to the perfect warehouse moment since the all conquering "Here's Your Trance..." Given the lack of additional info, we presume the Patrik Sjeren that produces the B Side "Untitled" track is the same Patrik Sjeren that released in the mid 90s under a multiplicity of aliases, and his contribution is every bit as incendiary as the track preceding it, whilst "3c 273" sees Omar S slip into pensive utopian electro mode with aplomb.

Review: To deliver their third release since debuting in 2018, from the less-than-prolific DXL Records has recruited Pressure Point, a producer who received plenty of praise for his earlier singles on Sol Asylum, Telharmonic Texture and All On Tape. The Wrong System EP is a quietly impressive return to form, with the little-known producer smoothly moving between intergalactic tech-house funk (the leaping, sci-fi sounds, shuffling drums and bubbly melodies of 'Timepiece'), mind-altering tech-house box jams (see 'Wrong Systems', with its chiming lead lines and hypnotic vibe), and tech-tinged deep house goodness ('Tom Cat'). The accompanying 'Spacetravel Mix' of 'Tom Cat' is also rather good, in part because it features what sounds like a broken modem having a meltdown over bustling machine drums, foreboding bass and soft-touch chords.

Review: The cultured Movida label rolls out more of its tasteful tech and minimal jams with the Water Drop EP Part 1. Somfay opens up proceedings with 'Arborvitae' (A Voice Like Water) which is a zoned out roller with chords that encourage you to gaze off to the future. The b-side starts with Luc Ringeisen & Funk E's 'Treinta Y Siempre', a tender electronic lullaby with gently broken beats and then things get much more scuffed up and dubby with Polyfan Polyphenix's 'Polymorph 2' which is a languid rhythm that makes you want to move nice and loose.

Review: It's rather hard to nail the Halloween dance vibe and yet also keep things light and jumpy, but the latest 'Out Of The Crypt' V/A compilation by the sweet folks over at Spooky Wooky have done just that. In fact, they're an entire label dedicated to the cartoon vampire-batty, kitsch smiling pumpkinned, brains-starved nuts-and-bolts-Frankenstein'ed theme: the propulsive monster-mashes therein are just as wicked and weird, with opener 'Je Suis Dans La Nuit' deploying reflective eskimo synths and crepuscular bass progressions; Phase O'Matic's 'Diskotech' making use of raw, flitty bleep leads and dead-of-night screams; and Lazer Man's 'Ozonar 12' opting for hollowed-out dub techno stabs and slinky minimal movements down below.

Review: Veteran producers Posthuman (cousins Richard Bevan and Joshua Doherty) own and run UK label Balkan Vinyl and it has a strong resume of releasing excellent IDM and electro since its first release in 2010. For this release they call upon a legendary friend Luke Vibert and together they've make a staggeringly great, joint EP. 'Still In Love' kicks off the record and brings Luke's familiar acid techniques to the party while sampling classic 80s and 90s dance tracks and samples within it. 'Android Webber' is quintessential sound Vibert is known for that balances a quirky IDM grit and a downtempo slow jam. For the B-Side, Posthuman offers the futuristic electro stormer 'Grad' followed by the sexy, slow burner 'Forever Circles'. A match made in acid house heaven.

Review: Top Rhythm Boppers return with a third standout release, this time from Papolious Jones who we are told aims to "transmit the sounds of a parallel reality, where nature and computers live united in harmony." He succeeds, too, with a selection of body-bopping electro infused with talk box robot voices from deep within a mystic forest in a celestial sky. After a scene-setting ambient opener come dazzling future disco delights, snappy electro-funk and playful cuts with naughty basslines. A varied EP full of fun as well as great form.

Review: The third album on the Rezpektiva label is a superb album compilation across four sides of vinyl by the "nutty French sonic wizard" by the name of Professor Oz. The eight tracks are devastatingly futuristic even now despite the fact they were all written 1986 and 1995. They are considered to be lost experiments, hence the album title, and have been remastered from the original DAT tapes. They bottle up dusty breakbeats and proto-techno grooves with tribal drumming and trance tinged synth overtones, proggy progressions and acid basslines that will never go out of fashion.