Detroit mixmaster Omar S serves new techno from out of leftfield with 'I Like You', a fresh 12" from the self-professed "best dance music producer and track mixer using faders (not a mouse)" in the city. Omar's all-analogue focus shines through here, professing his amourance for the listener in a short three-track spate. The mix job varies from crunchy to subdued to dynamic; 'I Like You' is the freakiest and roughest, a proper nerve shredder with fizzling hi-hats, 'Sad Techno' falls in the latter camp, sounding less melancholic than alien, a central acid burble glugging away against skeletal kicks. The closing track, meanwhile, 'B4 Romance' bumps along with a funk feel that's so low slung it's on the verge of lewdness. Needless to say, we like it a lot.

This iconic ambient techno album from 1994 - long out of print - is finally getting a reissue to help more get their ears around a mystical and much beloved album. One of its defining moments is 'Aqua Viva', a track that brings the listener out of the rave days and into the then current state of chill out music, an epic track that perfectly balances techno and ambient flavours. 'Dream Or Reality' is also a standout and was a single at the time of release. The beauty is almost spiritual with Tangerine Dream like sequencing over lush electronics. The album is one of the best examples of why the period of 1992-1994 was so revered. Robert Leiner was already known for his blinding techno and trance albums just before this came out. This album took his name to immortal status among those into ambient techno, but really anyone who likes deep electronic music should find something to adore here.

Long Island emos Brand New crack open the vaults with a new mixtape on the classic industry-mocking label (the self-styled Procrastinate! Music Traitors, a jibe against rainmakers Interscope and Triple Scope), a belated official issue of recordings circulating in rough form between fans for years. Made in the run-up to their third album The Devil And God Are Raging Inside Me - diehards will be fawning - the sessions catch them mid-U-turn, moving from melodic pop-punk beginnings into darker, angst-ridden songwriting, shot through with ironic Christian metaphor. Tracks 'Luca', 'Fork And Knife' and 'Yeah (Sowing Season)' appear in skeleton-masked early versions, as Jesse Lacey, Vincent Accardi, Garrett Tierney and Brian Lane build from wood and nails the tense, charged sound that would define their mid-2000s peak.

Steve White steps up front with Soul Drums, his first outing as bandleader; a promisingly high-stakes risk for Acid Jazz's Jazz Sessions series, chipping in a nod to 60s/70s hard bop and soul jazz. Best known for years behind Paul Weller and The Style Council kit, White leans back on jazz roots here, locking with longtime collaborator Chris Hague for a tight, unfussy trio session. 'Changes' and a neat flip of 'My Ever Changing Moods' ride crisp cymbal work, warm organelle tones and easy-flowering grooves, pitched somewhere between club-high shuffle and small-room session heat. A clean reset from a drummer long embedded in UK soul and mod circles, now calling the shots from the stool.

Berlin techno imprint Fides, run by dancefloor lighter Zippo, continues its collaborative X series with a fourth entry. With stripped, modern techno prosthesis, consigliere Francesco Devincenti's 'Joanaz' stands out here with an endlessly deep osmium techno drive, 'Joanaz'. Then advisory material from the likes of Rebecca Delle Piane, Rorschack, SLV and Endrew bring further lessons in top-speed nighttime logistics, tunes bringing a high-octane, automobile flow, as if to evoke SNES-era speed racer games; techno reimagined as illicit digital substance, trafficked in hover-vans over state lines.

Another major celestial event from Green Cosmos with Morgenmusiken, a late-70s session from rural West Germany, catching the four players bend the cosmic bough of jazz orthodoxy. Wthout a local scene, the group would devise their own language from Coltrane heat, Indian influence and free-form interplay, with guest sitar from Narayan Govande uttering through. Tracks like 'Kalimba Walk' and 'Galeria' unfold patiently, sax lines circling, piano probing, rhythm section holding a loose but intuitive centre. All live compositions, the pieces grow out of silence and drift into long-form improvisation, favouring space, tone and gradual movement over fixed structure; now pulled from archival sources and set back into circulation.

Electro beacon Gladio Operations returns with another multi-artist dispatch on 'Personal Panorama' EP, sketching another tight crosshatch in European machine funk. Cycloplex opens with a typically lean, bass-heavy driver - snapping drums and tunnelling low-end - while Girona's David Pasajero follows with a warmer wallop, melodic pads and acid flashes borne by a fluid electro groove. Observe the obverse, and Barcelona stalwart Dark Vektor delivers the toughest moment on the record with 'Te Voy A Dar Ahhhhh', before Slit Observers bring a vocodery, source-filtered acid strap, and German pairing Intergalactic Noize Commander & Elektrotechnik close with cold, bunker-hunkered electro mushed aground with muddy but riveting arpeggio.

Re: Stalker, garage heads know the sound but not the specifics. Here's a little-rewound chapter in early 2-step history: never yet unleashed material from the turn-of-the-millennium studio sessions of production duo Stalker, aka Skyjoose and Johnnie Clark. Recorded around 2000, Stalker first emerged briefly by way of a self-titled two-tracker before slumping back to obscurity. This Fresh Milk repress returns to those DAT-age recordings, pairing the original vocal cuts 'Silent Kiss' and 'Fire' with four extra tracks drawn from the same sessions, including several previously unheard club dubs. Everything's mono-centred as expected - given that time's penchant for Funktion-One PAs and the phase-unfriendly medium of vinyl - but the sensibility grows rawer, 'Hold Tight The Flavor' bringing slightly mawed kicks and 'Bump', many a soulful proto-grime snap-snare.