The Deadstock 33s At Juno Download

Review: This could be a match made in heaven. On one side, rising star Daniel Avery (aka Stopmakingme), on the other, veteran producer, DJ and all round legend Justin Robertson (here appearing under recently-adopted Deadstock 33s pseudonym). Musically, "Nylon Icon" and "New Moon" are typical of Robertson's recent work, offering a dark but addictive fusion of bubbling electronic disco, vintage dark wave synth-pop and analogue house. "Eric Zann Revisited" flips the script slightly, touching on Italo whilst retaining a bouncy electronic groove. Remix wise, there's an acid-flecked tweak of the latter track by Filthy Dukes, whilst People Get Real deliver an off-kilter, cowbell-heavy version of "New Moon".

Review: Continuing their fine vintage of releases in 2011, Tigersushi's attentions cross the English Channel where two generations of music making join forces for the excellent Gravity EP. The names Justin Robertson (here under his Deadstock 33s alias) and Stopmakingme should be familiar to your ears, and this release marks the first occasion they've collaborated together fully - having swapped remixes in recent times as well as releasing a track together for Southern Fried. There's much to enjoy here among the four tracks that straddle the tempos and moods, with the title track the most horizontally leaning and sprawling in its outlook. "Park Drive" is a more elastic, analogue heavy accompaniment, similar in its cavernous treatment of rhythms to a Chicken Lips production and it's matched in the energy gifting stakes by "Oscillate" which operates on a similar level of fun to James Curd's DFA classic. "A Rising Madness" completes this release, aptly titled as it gradually rises from a drum machine heavy intro a surfeit of schizophrenic synth modulations.

Review: Ever a reliable outlet for the newest of nu-disco, Gomma once again come up trumps with this record from Justin Robertson's more synth-wave influenced project. The original is a dynamic and immaculately realised pop jaunt fit for early Depeche Mode, not least in the stoutly English vocals. Ewan Pearson gets a snappy house framework around the key elements of the track, never so in his element as reworking a bombastic vocal tune. The "Club" mix focuses on a serious dose of acid intent with a hint of electro house a la Tiefschwarz, and Disco Bloodbath turn out an unbeatable slice of Chicago precision.