Phantasy Sound 黑胶唱片和CD

Review: This new 12" from Glaswegian producer Harvey McKay sees him reworking Daniel Avery's 'Drone Logic' into a driving, big-room missile i and it absolutely slaps. Upping the tempo and leaning into a more percussive framework, McKay doesn't just touch up the original's swirling psychedelia, he rebuilds it for peak-time pressure. The acid line is still there, twisted and stretched, but now it rides atop galloping drums, shimmering hi-hats and the kind of pneumatic swing that's become McKay's signature. It's a brand new release on Phantasy, pressed in a limited run of 500 and already a fixture in the sets of Avery, McKay and Erol Alkan. The sound is somewhere between soulful techno and heads-down warehouse hypnosis i powerful without being punishing. What's clever is how it stays true to the hazy mood of the source, but flips it into something entirely more immediate. As a one-sided 12" it's a bold statement, but one that's easy to understand: it only needs one track when it hits this hard. Built for high ceilings, smoke machines and stretched-out moments mid-set, this is an edit that earns its hype. A slow-burn classic reborn as a proper dancefloor weapon.

Review: Erol Alkan's faultless Phantasy Sound is one of the most high-quality but musically hard to predict labels out there. British Ugandan DJ Josh Caffe has dropped a few killers here before and has a full length coming later in the year but first is 'Meine Lederjeans'. It's a slow-motion electro-funk cut which vocals that drip with Prince-style sexuality and soul. The Paranoid London remix then does what Paranoid London remixes do - bring the grit, grime and sleaze. It's a raw and frazzled remix with early Chicago acid-house vibes. A superb EP with two very different but equally standout tunes.

Review: Grenoble DJ and producer The Hacker, known for his dataphile dark trance excursions, teams up with newcomer Endrik Schroeder for a full-blown creative grand slam, 'Puissance 4', betraying decades' worth learnedness in the knob-twiddling manual arts. The title track here builds from a classic beat into a euphoric hoover-rave crescendo - luring dancers in with hypnotic acid textural decoys - but then finds mercy on said prey, giving the dance what it needs: a rave riff on loan from heaven. 'The Voyagers' contrasts with an 808 soul slapper, its sensuality and understated heavenliness recalling obscure 7th Plain releases.

Review: Ayrshire's Ewan McVicar returns with a rugged double-header that channels his formative years in the Scottish rave circuit. 'Careless Drifter' lurches forward with thick low-end pressure and twitchy modulation, finally collapsing into a swaying sax break that nods to the more opulent corners of UK rave memory. On the flip, 'Basic Foundation' dials things down without losing focus-slow-motion acid house built from gleaming synths and glowering bass, the kind of thing that turns a packed basement into a seance. Debuted at Corsica and refined at his Handpicked parties, both tracks have the lived-in quality of well-worn favourites-built for dancers, not algorithms.

Review: One half of the legendary Chemical Brothers makes a thunderous return to the dancefloor with 'We Are Nothing' and 'All Night', two tracks that recall the kinetic chaos and forward-pushing spirit that made his name nearly 30 years ago. Tom is known for his no nonsense use of unique sounds and bombastic beats and his first EP since 2013 is no excpetion to that rule. 'We Are Nothing' is a relentless, high-energy trip with no allegiance to genre. It's visceral, loud and gripping track that doesn't ask, but demands attention. 'All Night' takes a different path, launching into a breakbeat-driven frenzy that reminds us of his 90s output. There's an unpredictability to both tracks that's distinctly Rowlands: sharp turns, sudden explosions and the sense that anything can happen next. While his recent years have been devoted to soundtracks, this is a reminder that the dancefloor is still in his DNA.