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.

In the shift from minimal to deep house there were always going to be winners and losers, and it sounds like Carsten Aermes aka Phon O ended up on the right side. On Schn33, there are echoes of his minimal past, as loose drums form the basis for the title track, but the German producer is in a different place thanks to the use of building chords, icy synth lines and the sweetest strings this side of Derrick May. "Go" is also indicative of his shift towards deeper climes, but the repetitive vocal sample intoning the track title, coupled with billowing chords mean it is a more tracky, toolish affair

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.

Sean Johnston's Hardway Bros aligns on the Throne Of Blood label with some rare original produce in the shape of A/B Musique, a killer single brandishing some assistance from fellow Axis members Scott Fraser and Timothy J Fairplay. Eschewing the Balearic nature of previous Hardway Bros material, the title track is geared as homage to Belgian New Beat and hits the spot as soon as those hollow drums kick into gear. The aforementioned Mr Fairplay provides some punk funk swagger via intermittent guitar riffage and the vibe throughout is geared towards interplanetary love parties. On the virtual flip, "Shorty" feels a bit darker, with tough multi layered drum breaks and fuzzy edged arpeggiated bass lines gradually teasing out a seemingly never ending fluctuating precession of delay laden acid lines and swirling hypnotic vocal smudges. Scott Fraser turns in a murky basement remix of "Shorty" which is tinged with a machine made melancholia that tastes decidedly Detroitian.

Despite making a name for himself in his hometown of Portland, Oregon, Elliot Thomas has yet to make his mark in electronic music at large. Judging by this first solo single for Voyeurthythm, he could be a name to watch in coming years. Brimming with snappy analogue drums, vintage synths and tear-jerking melodies, "Sirius" is a delightful slab of stargazing deepness with some impressive influences (early Chicago deep house, the Burrell brothers, classic Detroit techno). It sounds like something that could have been made in '88 or '89, right down to the analogue warmth present throughout. "Desert Light" follows a similar template, delivering bubbling electronic arpeggios, yearning synth melodies and subdued analogue drums. Recommended.

Dave Clarke's remix project with Jonas Uittenbosch aka Mr Jones has turned into a fully-fledged production outfit with this release on Fabric's new Houndstooth label. We're not sure what "Spek Hondje" means, but irrespective of how it translates, it is sure to soundtrack underground parties in grimy basements thanks to its pulsing acid lines, grinding bass and panel-beating metallic rhythms. Vox Spek Hondje featuring Bear Who is even darker and more edgy, as pitched down vocals navigate their way through a grime-coated arrangement. "Bassapella Spek Hondje", which also features Bear Who, goes deeper down the wormhole with a noisy, grinding bass at its centre-piece, more effective than a pneumatic drill to the temple.

Arguably the most recognisable of Panorama Bar's resident DJs, Steffi follows Cassy, Tama Sumo, Prosumer and Nick Hoppner in cooking up the fifth batch of tracks to make the Panorama Bar mix series. Exclusive material comes from Big Strick, Fred P, Dexter, Juju & Jordash and Steffi herself, while other house cuts come from former drum and bass staples Endian (Commix) and Trevino (Marcus Intalex). Other veterans to feature in the mix include DJ Skull with his original '93 pressing "Don't Stop The Beat", while Steven Tang's Obsolete Music Technology chips in with "Latency". Newer sounds come from Fear Of Flying's BLM, US-based deep house producer Chris Mitchell, DJ Fett Burger and Will Martin collaboration with John Barera; one half of Boston outfit B-Tracks.

Dubbed "future techno" by the ever vigilant genre officials over at Radio 1, Der Ausgang is a curiosity. Tasty, crisp, even efficient though it is, its creators look at each track as an accoutrement to a set rather than it's memorable peak. What sort of musicians want to become the scene setting though? On reading their bio, it becomes very simple to understand; musicians who know what they want. They describe the collection as: "All of the impact - none of the vulgar, desperate crap." From the names of the tracks (they are actually people's names) to the tasteful combination of lo-fi and hi-fi sounds, there's plenty of impact too. Each is a beautifully crafted slice of perfectly minimal techno, and if you like techno, what's not to love about that?

Spanish duo Samot & Surit aka NX1 continue their deep dance floor techno mission on NX1 04. Like its predecessors, the fourth instalment is all about fusing esoteric, soft-focus elements with robust, rhythmic elements. "NX1_04-010" sets the tone for the release, its eerie filters and spacey breakdowns unfolding over sharp, metallic rhythms and heavy beats. "NX1_04-011" is more moody, with grey scale textures combined with a bleeding acid line and a slamming rhythm, while "NX1_04-011 " brings the release to a fitting climax. There, the kicks are heavier, the percussion more firing and even the chords resonate with a darker intent.

German producer Redshape featured on Steffi's recent Panorama Bar mix, opening the selection with the deep ambience of his Palisade project. In this instance however, he focuses on the dance floor and "Focus" brings with it the menace and swagger we have come to expect from the man in the red mask. Waves of percussion hiss and itch, mournful tones play in the background and at the arrangement's heart is a bass that is by turns grinding, brooding and ominous. Steffi also contributes a track, "Attacke"; its claps are heavy and chords are eerie, but its pounding groove cannot compare to the Red menace.

With numerous vinyl, CD and cassette releases over the past 20 years, Orphx are true techno veterans; Boundary Conditions marks their third release for Adam X's Sonic Groove label, and sees them continue to blur the lines between techno, industrial and noise music with stellar results. "Outcast" begins with a tunnelling bass pulse, slowly giving way to savagely distorted synth blasts, gradually building to a frenzy of broken noise. "Vanishing Point" is similarly beautiful in its abrasiveness, coating its simple beat with distorted drum rolls and delicate tones, while "Periphery" takes a gentler approach letting its textures and rhythms unfold and breathe in more cavernous surroundings. Once again the duo prove why they are one of techno's most enduring outfits.

The enigmatic Paula Temple returns to techno with a vengeance, supplying R&S with the surprising (and quite shameful) first release from a female artist! Colonized sees the hark back to their techno roots by supplying the seminal imprint with some with hard hitting industrial-edged techno in the manner of recent releases from MPIA3 and Blawan. Temple however is not by any means a new name, with her first release coming via Chris McCormack's Materials label in 2002, receiving rapacious support from Claude Young, Dave Clark and Jeff Mills whilst she has also released under the Fragile X and Jaguar Woman names. The Colonized EP sees Temple move away from the faster and melodic stylings of her previous work, and delivering two slabs of brutal industrialism instead. Though there's a bullish brutality present, Temple does show moments of reflection and serenity, particularly in the title track, which Perc reworks with gravelly rhythmic mechanics and metallic textures.

Introduced to the world by Nathan Fake back in the original days of MySpace, it was only after several years the producer finally released their debut record on the Swedish imprint Studio Barnhus in 2011; Hammerfest was a three track collection of analogue techno with euphoric undertones in the Border Community vein, filled with icy synths, unusual melodies and shimmering backdrops. The producer's second release continues in much the same style; "Shakes" combines jittery sample manipulation in the style of Soundstream with unrelenting analogue weirdness, while "Helmet" pairs lively breakbeats with sonorous keys and an undulating synth wash; both are as brilliantly odd as the surreal cover art suggest, and give the L.I.E.S. and Sex Tags camps a run for their money.