The perfect stocking filler for any self-respecting Techno fan - nine tracks from Shed's five EQD 12"s collected in one set. It amounts to one of the most crucial dancefloor payloads of the last half-decade, each and every cut designed and executed to elicit helpless reactions in the right circumstances. And while precisely machine tooled for the DJs, these are anything but simple dancefloor productions, they're muscular works of functional art documenting the ongoing evolution of hi-end Techno. In other words; Essential.

More essential warehouse ruffage from the mighty Hardwax camp, this time with a well known berlin producer taking the reins to kick-start a beautifully anonymous imprint to keep you guessing. The A-Side is a bassline killer, with a Claro-style bassdrum and padded chords setting the scene for skittering percussion and a staggered bassline that just OWNS it. It's just mighty stuff. The flipside is even better, employing a similarly robust low-end spine but re-configuring surroundings for a woozy Basic Channel meets Claude Young style, complete with fuzzy white noise motifs and some serious head-spinning … Read more

Hey-O-Hansen and Shed remix the 3rd Wax 12". A-side D&M mastering and cutting engineer and producer Helmut Erler links with Michael Wolf as Hey-O-Hansen for a rumpy Alpine Dub version. Flipside Shed his-self reworks his own cut, reinforced with calamitous kicks and a deadly, offset percussive shuffle. Killer twelve!

Serious techno tools from Shed's revered Wax project. The previous installments have become staple fixtures with all the big techno jocks and this one is set to do the same. On the A-side we get a stripped and stylish New York style workout, all Latin shuffling hi-hats, cracking handclaps and a powerful yet liminal subbass deigned to stroke your ass into action. Over on the flip he cracks out the trusty organ stabs, fluidly dubbed for enhanced flow while the rhythm drives out in a funked up Techno motion with smothering subs and bold swinging syncopations. Basically indispensible. Recommended!

René Pawlowitz (Shed/EQD/WAX) coming on strong with two killer Power House workouts. As WK7, he rolls out super-robust bass and simmering chords with a kinky Jersey skip on 'Do It Yourself', while he reprises the Head High alias on the flip with a thunderous Dirt Mix of 'Rave' designed to bring the house down in deadly style. Definitely recommended for dancer and DJ!

For the first Wax remix session Shed invites two of his favourite dubstep producers to revise his '20002' 12". Pinch exceeds expectations with a truly masterful dubstep swing joint on the A-side, keeping the hard-swung rhythmic integrity of the original and augmenting it with growling subs, roaring lions and and a kinky Bristolian twyst. Elemental takes the flipside with another crafty re-calculation, flipping the original vibes into tightly tucked Breakstep motion with a triplet-synced breakdown. Deadly 12". Recommended!

WK7 is a pseudonym for René Pawlowitz aka Shed operating in pure early '90s Techno/Hardcore mode. Original copies of this coveted 12" were only sold through the Hardwax store in Berlin but you lucky ravers now have a 2nd chance to nab a copy. There's three cuts and they're all standardly heavyweight; from the chunky, kicking original to the flexing 'Hardcore PCK' mix on the flip. Don't sleep!

*Shed returns to his WAX project with his first new release for 2013* Shed's yearly dose of Wax action for 2013 is a relatively mellow, dubby affair compared with his previous techno tools. There's a blue and spaciously atmospheric stepper on the front - all gaseous chords and muscular subs sprinkled with decaying hi-hats in proper Berlin fashion - whereas the flipside carves out some laidback and dubby house swing accentuated with white noise snares and rumbling subs just how ya like it.

Of all the anonymous white labels to emerge from the Hardwax camp, two names have caused quite a stir; The Equalised and Wax imprints. Their limited nature and club-perfected rhythms have ensured they're some of the most in-demand bits of the black stuff from the last couple of years, and all but the deafest techno/house fan should be able to figure out who's behind them! Wax 20002 may well be the only 12" the label drops this year, but it's all about quality and certainly not quantity here. The untitled A-side follows 10001's lean and toned aesthetic with purified house rhythms strictly made for the d… Read more

Fresh outta Shed's Berlin matrix, two optimized Techno-House killers! A-side whips dancers into shape with proper early '90s Detroit styles, all cracking hanclaps, fizzing hi-hats and a Reese style sub for your behind. B-side is a bit more pumping and dubby, with deftly diffused dub chords and hydraulickin' bass pressure. Like all the other wax sessions, this is pretty much an essential purchase. Sick twelve.

Public Information collect diverse reinterpretations of F.C. Judd's pioneering electronic music from Pye Corner Audio, Chris Carter, Peter Rehberg, Bandshell, Ekoplekz, The Boats, Mordant Music, Holly Herndon and many more. The groundbreaking, experimental originals are chopped, sliced and refried into wonderfully abstract shapes in keeping with F.C. Judd's vision, ranging from instrument builder Ian Helliwell's fractured, wire-fried disassembly of 'Solid States' to Peter Rehberg's brilliant, marrow-freezing electro-acoustic render 'FCJUDDmix 032013' and fellow electr… Read more

Modeselktor's 50 Weapons wield two swinging techno tools from Phon.o. 'Schn33' builds a trancey head of steam for the big rooms; 'Go' is friskier, flightier, motioned by pendulous bassline and tight dub chords with a surging drop and climactic finish.

**Jim Jarmusch, Carter Logan, and Shane Stoneback's debut as Sqürl** SQÜRL is an enthusiastically marginal rock band from New York City who like big drums and broken guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped and screwed hip-hop, imaginary movie scores…SQÜRL began in 2009 when Jim and Carter teamed with producer/engineer Shane to record some original music for the film THE LIMITS OF CONTROL. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock’n’roll songs (releasing them as Bad Rabbit… Read more

Metronomy's Gbenga Adelekan aka Olugbenga leans in with three trap/dubstep/electronic-pop hybrids on Pictures Music. His 'Hafiza [Innocence]' A-side is a dynamic surge of romantic dancefloor fireworks with requisite alien vocal treatments; B-side 'I Can Be Whatever You're After' somehow comes off like a hyper-speed Zola Jesus produced by Salem, and 'Time Dollars' works out a cyber-exotic slow/fast riddim.

Clouds take no prisoners on this one. Proper aerodynamic synths tussle out with heavily frictional groove in the fierce 'Radical Cutting Methods', and 'Chained To Dead Camel' lamps out murderous kicks and raving synth slashes, also included as a more brooding, pensive Edit Select mix and a galloping, spacier take from Sosak.

Scotland's finest reggae producer meets legendary vocalist Kenny Knots inna eight-track grip of rooted but future-looking dancehall. Each one a finely crafted mash of classic soundsystem memes and up-to-the-minute studio nous, rollin' and skankin' from the acidic digi-dub of 'Brand New Bangarang' to Smith & Mighty-like stepper 'Word Sound And Power' featuring Mikey Murka and the overproof sub-weight of 'One Life To Live' thru to the chiselled digickal styles of 'Rock Inna Dancehall' and the outright bassline murder and weed chat of 'Gimme Gimme'.

'Songs To Elevate Pure Hearts' is Neville Watson's sublime debut album in tribute to the mystique of classic Detroit and Chicago house. Deeply influenced by the romance of vintage Carl Craig and Larry Heard, his mood swings between the twinkle-eyed ambient bliss of 'Dark Star' and 'The Girl From Kowloon Tong' to the driving techno-soul emotions of the title track or the hilariously titled 'Everything I Know About House (I Learned On Facebook)', thru to progressive tribal visions such as 'Axiomatic' and the vintage class of 'Son Of House' and the sumptuous lush-out 'A B… Read more

Serene deep house electronics from a new kid on the house block. Gigi Jikia aka HVL makes a subtle impression with three tracks cooly ranging from the effortless, Mojuba-esque strut of 'Flats' on the front, to a more dreamy, spaced-out mid-tempo groover 'Whirlpool', and the plush dub-house stroke of 'Searching' on the back.

NYC's Bangers & Ash showcase the split sonic personalities of Zach Cooper aka psyche-dub soul and jungle boy King Garbage, and kuxxan SUUM. In King Garbage mode he's a charming avant-soul character with a neat line in lo-fi croon a la a drugged up Jamie Lidell; as kuxxan SUUM its a very different matter, bombing in with the bashy, bass-weighted hip hop of 'Red Blambingo' and the cutthroat breakcore of 'BK Klang'.

Drunken hyper-boogie bounce from Zack Christ. 'Fu*king At Disneyland' is a fine display of ductile future groove dynamics shotting heat-seeking chords on a fractured, seasick riddim. I Got Hard Wubs and So Many Huneys M8' is EDM inverted to a strange, skittish bad robot style.

Muscular, minimal, menacing techno from the EBM specialist. Rolls from the bleeping freakiness of 'Psychik' to a brooding throbber 'Psychose' and the big pick, 'Lovesick' with its suggestive vocals and darkly toned bass roll.

Calibre returns with a new 13-track album for Signature.

New on Desire.

Tresors remixed by Steve Moore, Holy Strays, Bestial Mouths and more.

The album formerly known as.."Landcrusing" with bonus cuts and a total of 12 completly re-mastered and re-worked tracks with additional edits. Features the unreleased 'Sparkle' and new ambient versions of 'Technology' and 'Home Entertainment', plus 'Technology' (original), 'They Were', 'Mind Of A Machine', 'Science Fiction', 'One Day Soon', 'Landcrusing', 'Einbahn', and 'Home Entertainment' (original), "A Wonderful Life" (alternate version), Technoloambient (Max Dub) and Home Entertainment (Caya Dub). These killers have never been availble on vinyl before … Read more

Another new recruit joins the Mathematics academy for aspiring space cadets, delivering a debut portfolio of six burning Chicago House trax. There's four beat-driven tracks with tough rhythms offset by fluid, alien-melodic keys and harmonies, plus two beatless efforts.

John Heckle follows his very well received 'Life On Titan' 12" with four tributes to the deep and cosmic House sounds of the Windy City. There's two jazzier, smoother numbers on 'The 4th Dimension' and 'What Once Was', and two sturdier, psycho-activating jackers 'Forgotten Lights' and 'Ahead Of Time', each crafted with an authentic lo-fi bite.

The inimitable Detroit techno visionary Kenny Larkin crops up on Planet E with some solid shakers giving us a taster of things to come on his new album 'Keys, Strings, Tambourines'. 'You are...' comes in two versions, both bearing the immediately recognisable preachings of Kenny, but with differing intents, the original mix working up a perky 313 techno rhythm with a wicked offset bassline and shaking percussion lending the track a skanking motion, while the '...Dark' mix places some mean dub chords into the mix for a proper dark and moody Detroit vibe.

Pure nice-off from coffee table staples Thievery Corporation and Ghostly International's Tycho. Each artist provides an original track and a remix of the others'. Thievery Corporation give up the laidback Balearic plushness of 'Fragments', which Tycho re-envisages with a bayside Miami circa '87 feel. He then offers 'Ascension', marrying breathy glossolalic coos and warbling synth with a lovely 4AD bassline, backed by Rob Garza ov TC's swaying mid-tempo remix made for smudged out sunset moments on the greasy rocks of Cafe Mumbo.

Ethnomusicology student and unique songsmith presents his sixth solo album and 2nd for the Underwater Peoples Records. Julian Lynch's music is something of an acquired taste; you'll either fall hard for it's worldly, syncretic charms or travel sick with its fusion of so many styles. Ultimately we fall into the former category for 'Lines' with its cornucopia of foreign instrumentation, timbres and motifs woven to an instinctive backbone of blues and indie songcraft.