Mooqee's label Bombstrikes is doing all right for itself. So much so in fact that they've reached that milestone - a label's first compilation album. Here Mooqee has selected 25 sizzling bangers new and old that do it for him, and hopefully will do it for you too. Highlights include the compressed electro steamroller that is "Back To School", the crunch synth funky freakout of "Come On Bounce" and the devastating bass that's eaten all the pies of "Let's Do It Right Now". Heavy!

The fantastically named A/Jus/Ted - veteran producers Justin Strauss and Eddie Mars on a collaborative tip - make their debut on Under The Shade. "A Brighter Light", featuring the treacle-thick soul vocals of Jeremy Glenn, sits somewhere between electro-soul, early Chicago house and Balearic nu-disco. As you'd probably expect from the soul-minded Strauss, the resultant track is effortlessly soulful, quietly uplifting and brilliantly produced. The same could be said of the more instrumental Re A/Jus/Ted remix, which blends skittering proto-house rhythms and electrofunk dub elements with woozy modern deep house. Like the original, it's excellent.

Despite getting everyone all hot and bothered with the promise of their collaboration, Gorgon City - aka Foamo and Rack N Ruin - have been sparing with releases to say the least. Still, it's all about quality not quantity, eh? Both tracks on this EP scream class and are immaculately produced: "Intentions" is a slick deep roller, complete with bouncy bass, shuffly garage beats and a soulful 90s-style urban vocal. The percussion is pushed to the fore on the corresponding club mix, but it's the dark and positively subterranean bass vibes of the moody "Cycles" that really does it for us!

Turning tricks with ever more prolificacy, Roman Flugel is back in business once again with some decidedly rough stylings for Clone's Jack For Daze series. "Even More" is a taut and responsive floor worker shot through with that quintessential Flugel quirk, in this case defined by a funky guitar lick over the booming machine drums. "More & More & More" gets even wilder, bringing in a loony lead synth that calls to mind the primal production style of UK Funky over a rugged box-jam jack. With some classic Dance Mania flavoured vocal samples flown in for good measure, a crowd-busting belter is born.

Given Unknown To The Unknown's wide ranging remit, including bassline garage, Detroit electro and Chicago house, it was perhaps inevitable that a genuine 90s house record would find its way onto the label at some point. Originally released in 1992, OHM's "Tribal Tone" was supposedly the first tune to use the Korg M1 sound that was later immortalised by Robin S' "Show Me Love", and had considerable impact at the time, being championed The Shamen frontman Mr C, being licensed to R&S sub-label Global Cuts and US label Vibe, and finding itself remixed by the Sabres of Paradise trio. Here it finds itself with three similarly great remixes, a stripped-back, raw groover from Marquis Hawkes, a horn-heavy piece of 90s action from Capracara and a thundering mid-tempo effort from Northern Souls. Essential!

It's been a while since Freerange boss Jamie Odell (better known, of course, as Jimpster) delivered an album; in fact, his last full-length dropped way back in 2006. Seven years is a long time between drinks, but the rest seems to have done Odell good; Porchlight & Rocking Chairs is arguably his strongest album to date. While deep house remains his focus (see the intricate "Glowing Embers", Detroit influenced "Cracks In The Pavement" and Moodymann-ish "High Wire"), there's a soulful bagginess and barely concealed jazziness throughout. More impressively, many tracks hark back to his pre-house days as a producer of lovingly crafted downtempo gems (see "Jasmine Dragon", "Wanting You" and previous single "These Times".

The ever-correct Prime Numbers series is still going strong, this time bringing together a thoroughly eclectic range of producers to lay down some solid club fodder. Adesse adopts the tenderest approach, bringing a soft African lilt to a subtle arrangement of light drums and poignant chords. Truss is certainly in no mood to chill on "Redbrook", going for a big room techno flavour that favours rigid beats, acid parps and epic swathes of organ. Massimo Di Lena is on a far more twitchy tip, with a snagging assortment of percussion and some woozy synths that leave one feeling wonderfully dizzy.

KiNK has deservedly won a reputation as one of the finest modern interpreters of Chicago house and on My Space, he takes his understanding a few steps further. In its original format, My Space is a deep, pulsing affair with more of a swinging rhythm than some of his previous releases. However, what it may lack in forcefulness it compensates with its use of ponderous vocals. The 'Hardcore' remix is more psychedelic sounding and sees spacey synths unfolding over broken beats, while the Black 80s Home Studio version sees the collaboration go back to KiNK's more typical, bass-heavy, jacking sound. The Luna City Express remix pares the arrangement back without losing sight of the original's melodies.

It appears that Systematic label boss Marc Romboy and his Chicago veteran old pal Blake Baxter have got lost on a road trip. We can just see them now, in a Delorean and struggling with maps and compasses before exiting the vehicle to find themselves in Paris circa 1998. Yep "The Art Of Sound" sees the normally jack-obsessed producers explore the whole French touch sound, and it largely works - the main version being faster, vocal and less retro. Version 2 though is all about looping and filtering those disco samples to within an inch of their lives!

X Beats comes through with the 24th instalment of pop-fuelled house anthems for the arenas! "Forever Now" will be played by many and liked by most; "Play Hard" takes those classic, minimalistic Ibiza synth bleeps and pours some truly head-banging vocals all over it, whereas, "Tell Me To Take Over Control" is one of those 90's inspired rave licks, taking some rather famous female vocal samples and tearing them up with one hell of a drop and a mean succession of smudgy drum hits. "Baby One More Time" makes you think why no-one has ever re-wired Britney's cult-like lyrics over some nastier breakbeats, and "Raining" goes all Chicago. Stevie Wonder even makes an appearance on "Superstition", except this time he wears a considerably ravier look...

Belgium's FCL, the grand coalition between Red D and San Soda, two incredibly giften DJs if we may add, head back to their "It's You" single on the Defected imprint for a healthy dosage of remix action. No originals in sight here and the doors open with a bang thanks to MK's aptly garage-slanted version, followed swiftly by a slice of David Morales injecting some of his funky vibes into the mix, topped with a Flashmob special - a grinding, sub-driven, lo-fi kinda cut! Mr Fingers' "Acid Jam" take care of the 303 action with his vocal, bleep-driven edit, and San Soda gives us a Panorama Bar acappella version - a simply essential tool in the booth!

Kevin Griffiths is a wag. Having previously decided to press up just 100 copies of his latest Tsuba Limited compilation, he then had the masterstroke of calling it One Per Customer. Now it's available digitally the joke is slightly less amusing, but it's still a bit of a belter. Made up of previously vinyl-only jams (Italo Johnson's rather fine remix of Spencer Parker's "Show Him You're The One" being the most obvious example) and a smattering of new cuts (including a bassy chunk of low-slung basement house from Milton Jackson and a near Balearic rush of eyes-shut goodness from Rio Padice) this compilation comes highly recommended.

Despite the irreverent moniker, we reckon this Brighton act are just being coy - they probably spend ages perfecting their sounds really. Besides history is littered with warnings about what letting the machine do the work, haven't they seen Terminator? Anyway "One Love" is a big bear hug of a house record featuring a gruff voiced man spreading the love over some deep grooves and woozy key stabs. "Brighter Day" is a hazy, melancholic slice of early Chicago-style house and is a joy to behold.

Back in 2010, Tom Flynn was named as Pete Tong's "breakthrough producer" of the year. Since then, he's gone on to release on Mobilee, Hypercolour and Dirtybird. Here he pops up with an EP of robust, hypnotic deep house for 8 Bit. There's a warmth and fluidity present throughout the four tracks, with retro-futurist basslines and pads catching the ear. "Everything I Am" is suitably loose and wide-eyed, while the tougher "Shelter" sounds like a '90s New York house remake of Jaydee's "Plastic Dreams". "Loose Your Mind", meanwhile, feels thicker and more rigid, whilst retaining just the right amount of looseness.

Having made his debut on Prime Numbers earlier this year with his titular contribution to a split release alongside Truss and Massimo De Lena, Adesse is granted a full release with this all killer no filler Untitled Love EP. For someone who came to the fore with a version of Theo Parrish's "Sky Walking, it's unsurprising that the title track here has a rugged charm reminiscent of the outspoken Sound Signature boss - it's all about that thumping snare son! Meanwhile "Supernal" veers into deep steppers territory and contains some ingenious looping of a Laurie Anderson standard, whilst "Metachemistry" highlights Adesse's talent for loose, freeform arrangements.

Canada's Homebreakin' label, so often a home to P-funk and electro influenced party-starters, welcomes a new name to its roster, Laberge. "Falling Away" is a little different to their usual fare, with the title track delivering a deep, shimmering chunk of R&B-influenced nu-disco. Chris James' remix brings out the garage elements of the original (think pitched-up, messed around with vocals) and adds some shuffling beats, while Terrence Pearce's version is a wide-eyed chunk of UK garage nostalgia. As for the bonus tracks, "At Night" is a soaring slice of slo-mo electrofunk (think big synths and big vocals), while "Yesterday" is a near perfect example of how to execute slo-mo nu-disco.

Juno digital exclusive on this slab of 2009 heat from Mr Theo Parrish! Space Station is a Sound Signature masterpiece and it's hard to describe something so seminal but the title track is a shuffling drum machine workout backed with Theo's individualistic bass line style - it's not really acid but it's got enough in it to be seen as techno. "Going Through Changes" takes thing down a notch, delivering a masterfully arranged Detroit house bomb complete with seductive vocals, gorgeous synth keys and the essential madness that is Parrish's percussion. Pretty damn essential...

Esteemed Canadian deep house producer Fred Everything's "Mercyless" dates back to 2008; in its original form it was a funk-infused, feelgood 90s-inspired house anthem. In the hands of AtJazz it was turned into an introspective piece of after hours house with soft organ tones and shuffling percussion. This release presents the "Unreleased Astro remix" from AtJazz; subtly different to the original remix, it emerges in a slightly more vivid form, but with all the mellowness of the original.

Doctor P and Flux Pavilion hand over the selection duties to familiar label faces Funtcase and Cookie Monsta for the second Circus set. A 25-strong banger compendium balanced between classics and exclusives, it oozes the perfect blend of bare-faced bass attitude and tongue-in-cheek humour. From Roksonix string-soaked jig jamboree "Music In Me" to Brown & Gammon's emotional audio rainbow "Dark Matter", the Circus sound is represented at its boldest, most characterful and, above all, fun. Not a dull moment in sight - check this and remember why we all got into dubstep in the first place.