Shonky
The Way It Goes EP

Eddie Richards' vaults are surely some of the best there can be for tech house heads. The Brit was there on the ground, helping to shape the earliest incarnations of the newly emerging genre back in the 90s and early 00s and few have bettered it since. Proof comes from this reissue of a pair of remastered beauties on new label likethis. 'Destiny' has never before been on wax and is a silky, synth-laced sound with crisp drum funk and then the B-side jam 'The Soul' is a dusty and stripped-back mix of drums, hits, swirling pads and irresistibly loopy grooves.

The PARTI-PILLZ story charges into 2025 with its third release, spotlighting the electrifying sounds of Italian maestro Verniß. A masterpiece of crisp, punchy productions, Verniß brings the heat with his Black Shape EP—a four-track trip tailor-made for the late-night hours. From eccentric electro to sharp, modern techno, each cut delivers a knockout blow, crafted with livewire energy and club-ready precision. Verniß flexes serious finesse across the board, making this record a must-have in your DJ bag this Spring. Four tracks. Four weapons. One essential EP.

Played by Ricardo Villalobos, Raresh

Elon Dust’s Sex Tapes From Mars imprint gives Victorious’s 90’s “Play Safe EP” new life, with three remastered house emeralds."All My Love” stands alone on the A-side, and Victorious has successfully bottled the magic of classic house music, delivering a track that strikes brilliance being both timeless and timely. It's a soulful, uplifting affair, sharing an emotive yet slinky journey through rich, sultry vocals and a vintage melody that breaths deep with warmth, swing and euphoria.On the flip, “Can You Feel It” is anchored by dubby, shuffling drums that provide a hypnotic groove, and Victors voice yet again delivers a performance that is as enigmatic as it is intoxicating, layering the track with a sensual, almost haunting allure.A wiggly bassline sets a playful yet driving tone on “Do It To Me”. Spacey synths glide then sweep in, building an atmosphere that is both expansive and intimate, perfectly primed for the after-hours. Each element is carefully placed to serve the groove, making "Do It To Me" a masterclass in restraint. It’s a track designed to move bodies without unnecessary flair, relying on its raw energy and drive to carry the listener. This is house music in its purest, finest and most functional form.

Bringing together four exceptional artists from around the world to deliver the signature LowMoney sound…Opening with a dreamy dancefloor number from London's Front Left, followed by thoughtful funk from Bogdan Zaieta coming out of Kyiv. Mostly James bringing mostly vibes at B1 and the EP is perfectly closed by the absolutely sumptuous 'Needs More' from Yoshitaca.

Release info: Dana Ruh offers up the aptly titled ‘This Journey So Far’ 2x12’’ project via Yecad here, comprised of eight original cuts. As a long standing and widely respected figure in the world of underground house and techno through her releases on the likes of Slices Of Life, Ostgut Ton, Cocoon, Cave and of course her own Brouqade, Dana Ruh’s reputation stands tall as one of the finest purveyors of this sound. Amongst her releases, Dana maintains a heavy tour schedule taking her across the globe each year to many hotspots in key cities, here she marks another milestone in her career with a 2x12’’ release, entitled ‘This Journey So Far’, as a musical reflection on all that’s led to this point.Across eight tracks Dana presents her distinctive style which often straddles the lines between house and techno, opening with the airy, swinging dub aesthetic of ‘Case Of V’, while diving into deeper, murkier realms on ‘Bruv’. The B1 ‘KMA54’ then shifts focus towards choppy breaks, textural tension and hypnotic voices before B2 ‘Babel’ lays down a true dub techno feel across ten minutes of crisp drums, spiralling echoes and expansive reverberations.Kicking off the C-Side is ‘MF Now’, stripping things back to a shuffled, bumpy rhythm section, resonant synth chimes and billowing textures. ‘Grey With Some Light’ then leans into a more experimental glitch realm via twitchy oscillating percussion, unfurling atmospherics and drifting keys. ‘The Look’ leans back into House territory with raw stabs, sax lines, metallic chimes and vacillating low-end tones before ‘Song For The Lonely’ concludes the project, encapsulating the essence of deep house with ethereal pad swells, circling stab sequences, low-slung drums and cossetting subs.