Session Victim's 2012 debut full-length The Haunted House of House was arguably one of the best deep house albums of the year. Here, they return with their first new material since. Opener "Yes I Know" features their trademark loose, swinging drums, warm chords and classic deep house sheen, alongside a healthy amount of what sounds like organic instrumentation. With the addition of a delicious disco vocal sample, it makes for wonderful listening. Max Graef remixes, turning in a version that sounds like a deeper take on 6th Borough Project. "Glow In The Dark", meanwhile, is wholeheartedly Balearic - a blindingly sunny slice of semi-live disco-house bagginess that should get maximum rotations in warmer climes this summer.

Here's a downloadable version of Z Records' limited edition Record Store Day vinyl remix package of four tracks by label boss Joey Negro and his Sunburst Band. Sizzling electro-funk lead track "Taste The Groove" is given a low-slung, chugging 'Walk The Night'-style disco makeover by Hot Toddy. "Why Wait For Tomorrow" is teased out into up to 11 minutes of vintage disco ecstasy (in over three different mixes!) by Al Kent. "Definition Of Luv" also gets some super camp New York housey lovin' from Sean McCabe.

After successfully remixing some very popular dance tunes to widespread approving nods from the likes of Loadstar, Clean Bandit and Naughty Boy, the Bristol duo have returned to the studio to furnish the bass music community with a second EP released on cutting edge label Black Butter. Bringing together house, garage and bassline for that oh-so-now deep house feel with a characteristically twisted outlook, each track is a swarming mass of influences and irresistible experimentation. "Scatter" in particular has that perfect MNL combo of hip-swinging dancefloor compatibility and relentless hard-hitting beats and you've almost definitely already heard the badness of "Levels" on your travels. A definite buy on sight.

Mullet Records continue their quest to impose the sound of the Billboard Dance & RnB Chart circa 1985 on modern dancefloors everywhere, and it's a cause we totally support. Strong, Latino-style female vocal? Check. Timex Social Club-style electro bass? Check. Debarge-style tropical melodies? Check. In short, a winner! Lots of good remixes too, the best being the ever-dependable Elijah Collins who transforms the song from a good retro tune into something more unique and contemporary.

In the last 18 months, Dutch duo Detroit Swindle has come from nowhere to become one of deep house's go-to names. This three-tracker for Tsuba - their first for Kevin Griffiths' label - is another 'must-check' release. Lead cut "Sometimes" is typical of their output to date; deep, stylish, quietly soulful and blessed with relentless riffs that propel the track forwards at a rate of knots. Arguably better is "That Freak Stuff", a slick chunk of deepness blessed with some rougher drums, an addictive bassline and some atmospheric, whispered vocal samples. Soulphiction remixes, turning the track on its head thanks to shuffling analogue drums, a fuzzy bassline and some glistening pianos.

It's not all that long since Local Talk's first Talking House compilation dropped. Given the sheer volume of 12" singles from the label - there seems to be one every week these days - it's little surprise to see this follow-up dropping in double-quick time. The label's best material has always been superb, and there are some real gems here. Check, for example, Dirtytwo's clever (and exceptionally well executed) fusion of HNNY's "For The Very First Time" and Midnight Star's "Midas Touch", John Mood's "Basement Romance" (clearly inspired by classic Mood II Swing), and Cle's colossal piano house bomb "The Jam". Oh, and the thrill-packed blast of Balearic magic that is Fred Everything's "Brothers & Sisters (AM Pacific)".

Edinburgh producer Hostage has no intention of losing the heat garnered from a host of important releases on labels like Herve's Deep Thrills and Black Butter. The newfound interest in the deeper side of things is kept up on "How We Go Down" which features buzzing low bass and tough house beats. "Keep Dark" is sultry speed garage, the sparse "Conscious" veers into 4 x 4 territory and ""Show Ya" wraps things up with a warped rave organ riff and some very late night UKF grooves.

Brontosaurus is a lovingly curated compilation from Permanent Vacation profiling the defunct Frankfurt label of the same name. Founded in 2006, Thomas Sabrowsky, Lauer and Arto Mwambe's Christian BeiBwenger, Brontosaurus enjoyed a four year period of releases focused on "proto dance music long after its [emergence]" and can feasibly be viewed as the precursor to the triumphant Live At Robert Johnson club and label. This conclusive digital release paints an impressive picture of a label whose part in Frankfurt's rich electronic music heritage cannot be discounted. Move D's remix of Arto Mwanbe's "Hum Along" and Lauer's "Renard (With No Regard 2006)" are standout inclusions.

Quick! Look up! Is there a glitterball twirling around majestically above your head? No? Then you're doing this summer wrong. This collection will definitely get you on the right track; curated by Germany's longest standing disco house imprint, each of these cuts will give you that all important hip-swaying, unashamed funky disco fix that you desperately require. From Roger Williams' pumping updated of Gusto's "Disco's Revenge" to Funky Star's super-polished string-slammed cover of Thelma Houston's "Don't Leave Me This Way", Disco Galaxy have put together a superb collection that will befit almost any hour on the White Isle.

Upon first listen to "Serious Clowns", you could be forgiven for exclaiming "oh no! not another re-edit!" Thankfully though this Canadian coast and the countryside collaboration between Neighbour (Vancouver) and DJ Spiltmilk (Calgary) is an original composition that combines sultry arpeggiated Italo disco with an 80s soul mood (a la Imagination or Dennis Edwards). The rest of the EP is pretty funky too: "Look At Each Other..." managing to channel both Plastic Dreams and the Minneapolis sound, "No You Bite It" touches on deep house and best of all is the almost Viewlexx inspired "Red Or Black".

In truth, very little is known about Ten Walls, Dixon and Ame's latest signing to their recently quiet Innervisions stable. What we do know, though, is that he makes some tasty music. Opener "Gotham" is particularly good, slowly building into the sort of deep, sinewy, confidently melodic chugger that Ame and Henrik Schwartz used to do so well. "Epos" is, if anything, even deeper, with intense warmth, and an almost Arabic feel to the intoxicating synthezier melodies. "Moag", on the other hand, is so drowsy it's almost asleep - all atmospheric chords, bubbling electronics and cavern-deep grooves. Whoever Ten Walls is, he's very good.

French producer Antoine Husson's album as Electric Rescue seems like an unusual choice for John Digweed's Bedrock label. That said, Sonic Architecture does have some connection to the British DJ's dance floor selections, both past and present. "Unaggressive Complexity" could be an update on the break beat of Hybrid that Digweed championed - albeit with an evil Hoover riff at its centre - while the trippy vocal samples and insane tonal blips of the minimal house groover "Deode" is more in keeping with the Bedrock chief's current playlists. Sonic Architecture is more than dance floor tracks however, and the angelic melodies and glitchy sounds of "Dope" and the jingly guitar riffs and careering electronic bassline of "Airy Field" show that Husson has become a serious album artist.

Roberto Rodriguez's "Lies", previously released with tweaks from Attu, gets a second airing. The sinewy original - a kind of dubwise deep disco-house concoction - is remixed by Satin Jackets and Kyodai. The latter reaches for the heavy Rhodes chords and skippy US garage-influenced drums on his sunset-themed remake, apparently aiming to soundtrack happy evenings dancing on Mediterranean terraces. Nu-disco don Satin Jackets unsurprisingly emphasizes the original's more disco elements on his warm, baggy remake. It's a typically enjoyable and breezy chunk of deep house/nu-disco fusion.

Electro-deviant Jimmy Edgar has linked up once again with his JETS partner Machinedrum to launch the Ultramajic imprint, and he gets first stab at a release with this taut three tracker. "Hot Inside" is as unashamed a peak-time heater as Edgar has ever turned his hand to, sporting a riotous diva vocal hook and crisp house drums, but there's still a strong techno injection in the synth work and shifting phases of the track. "Strike" is a more abrasive affair with its metallic delay vibrations and relentlessly nagging jack, while "Shout" comes on all electro house in its fulsome bassline and shouty vocal snippets.

Last seen on Ostgut Ton back in 2011, the wonderfully monikered Dinky resurfaces on Visionquest with the Fallen Angel EP which precedes the release of Dimension D, her fifth studio album which has been mixed and co-produced by Matthew Styles. Visionquest press notes claim the forthcoming long player sees the Chilean DJ, producer and vocalist evolve into a fully fledged singer-songwriter and performer, which makes Dimension D a perfect fit for the label. As a taste of what's to come, "Fallen Angel" excels, with Iglesias's ethereal vocal the perfect foil for the dark, rippling techy groove. Kudos to Visionquest for the remixes too, with the aforementioned Styles further finessing the original's darker intricacies whilst Pepe Bradock completely rewires proceedings in his own inimitable style.

Following a host of releases with his Sunburst Band, Z Records boss Joey Negro is back to perhaps what's he's best known for: spinning light and soulful disco house. This second in the series kicks off with the handbaggy "Smile" by Mistura and take in thumping diva business "Every Day Of The Week", sublime techy house "Life Is So Strange", unsullied authentic disco "Power To The People", acid-jazz on "Better Things To Come" and the phaser-heavy, electro-boogie of "Begun To Love".

The sheer volume of Local Talk releases is dizzying. It can make keeping track of their output difficult, which is mildly irritating given the high quality threshold. This latest EP - their first from Orazio Fantini - is another belter. While rooted in classic US house and deep garage, there's a summery breeziness not often found on Local Talk EPs. The three tracks are fairly similar, with clever use of sampling, bouncing melodies and just the right amount of retro chic. "Feel It", with its surprise jazz-funk breakdown halfway through, is probably our pick, though the more upbeat, groove-driven "On Hold" (which seemingly features an M People vocal sample) is pretty tasty.

Scholl's third release on German label Cecille sees him play hard and fast with tool house rules. "Caboose", with its tribal beats and shaking percussion underscoring insistent filters and infectious vocal snippets, is probably the most conventional track here. It's followed closely by D'Julz take on "Frunk", with its driving, dubby groove and insistent chord builds, but it is at this point that any connection to the conventional approach goes out the window. "G'Zu" is littered with hip-hop samples that ride a tearing bassline, "J'roove Bon" is like an update of 2-step with its timestretched bassline and shuffling drums, while "Frunk" ploughs a path that is reminiscent of late 90s party techno, with some lithe breakbeats thrown in for good measure.

Stimming returns to his hometown Dynamic after a ludicrous string of EPs in the last few tears, this time in the form of an LP. The guy is simply a deep house don, and his tracks share an uncanny similarity with many of the great US producers who so boldly identified the genre over twenty years ago. "The Origin" starts things off with a puritan house flex but the LP gradually moves on to more unstable and unexpected territories such as on the piano solo that is "Cherry Bud"; the neo-Detroitian vibes of "Die Machtigen"; or even the UK bass laden swirl of "When I'm Drunk" - a piece that is sure to cause some serious damage on the floor.