Review: Alexander Starodubov first made his name in the late noughties as a producer of hard-to-pigeonhole blends of electronic club cuts, ambient and IDM, before re-branding himself as Bliss Inc last year. Here he delivers his second EP under the alias, charging between blissful, saucer-eyed '90s progressive house/early house fusion (brilliant opener "Hacking The Planet", whose psychedelic acid lines are particularly addictive), bleeping, sunrise-ready turn-of-the-'90s deep breaks ("Infinite"), and bounding workouts that reminded us of "Brown Album"-era Orbital ("Transitions"). The single also features a brilliant bonus remix of "Hacking The Planet" by Sansibar, who re-casts it as a lusciously loved-up, emotive and hallucinatory chunk of electro/deep breaks fusion.
Review: The Sushitech festivities continue unabated with this bittersweet repress of an all-time classic from the much-missed Detroit figurehead Mike Huckaby. 'Baseline '87' ranks amongst his most fabled works, riding as it does around an irresistibly catchy square wave bass hook and one of those no-nonsense beats that the legendary producer did so well. For the sound of Huckaby in full flight though, 'Musik For The Dancefloor' on the flip soars thanks to the interplay between the pads and chords while retaining that steadfast focus. In memory of a true dance music hero, why not revisit a classic that should be comfortably sat in every record bag?
Review: Given its title, you might expect Aaron K's second vinyl outing to be filled with forthright, sub-heavy sleaze. While there's some weighty low-end pressure to be found - especially on the sparse, dubbed-out delights that are 'Superbass 1' and 'Superbass 2' - for the most part the EP delivers blends of atmospheric, analogue deep house and jacking acid house that prioritise mood and melody over significant bass-weight. It's a fusion that works really well throughout, with highlights including the subtle electro influences and deep, spaced-out riffs of 'Transphat', the picturesque, arpeggio-driven melodies of 'Folding Arps', the jaunty deep acid of 'Everyone in the Pool (Filtered Mix)', and the cosmic late night hypnotism of 'Walls'.