Nice to see this Dusseldorf-Detroit axis back in action, and in such belting form too. 'The Art of Sound' twists up a disco loop in the classic filter style, augmented with some rattling hats and tough beats. 'Version 1' teases the sax-heavy loop out deftly, where 'Version 2' goes all Cassius circa 1998, heaping on the compression to devastating effect. It's not new, but damn it, if this doesn't get a dancefloor oiled up, then it's time to consider jacking it in.

Classic head boss man Luke Solomon lets Akufen loose on his latest, and the results are pretty ace. It's bumpy, sax-y, organ-y party mayhem, in fact.

A Dirtybird release with a colossal bassline might not seem unusual, but this is unusually colossal work from Justin Jay. It really is very large indeed.

A gorgeously, wonderfully Balearic thing here from the Zagreb/Frankfurt axis that is House Is OK, injecting purest vitamin D into our scurvy-racked systems. Oliver Achatz boots things off with the creepingly anthemic 'L.A. Cure', all innocuous synths, which breaks fabulously come the middle. Homeboy's 'Kim' is all bass slapped to within an inch of its life. The ethereal houser 'While You Were Dancing', by Janis, somehow ups the stakes of an already essential release. Well played there.

Kerri Chandler's Madtech imprint is really taking out the trash of late. This latest from No Artificial Colours (Lewis Wright and Ryan Ellis) pretty much nails the sound that both Madtech and Chandler are currently extolling. 'Crying Wolf', with vocals from Alex Mills - she of Miguel Campbell's 'Something Special' - is pitch-perfect (US style) garage. 'Restless Souls', with Crosstown alumus Cari Golden, is bumpier, laden with 909 percussion under Golden's spooky vocal. 'Love', featuring Sheff, keeps the momentum burning. Very, very classy indeed.