Willis nearly set the world on fire with her 679 debut a number of years ago, and finally, her gothic-blues and alt-country metaphysics make a return with this debut single from her anticipated, sophomore release 'Uncle Treacle'. Willis' swampy rap and pots-n-pans percussion are suitable elements for the mysterious Churchill's Leopards to work their craft with; transforming the loose, catchy riffs into an opiated, Balearic-haze that could have been a lost cue from Wim Wenders' haunting tale of loss and redemption, Paris, Texas.

An enjoyable, rubbery disco-tech remix from Kompakt regulars, Mugwump that's just pipped-to-the-post by Relish records boss, Headman. His loose punk-funk is an ideal remix choice for the band's festival-friendly electro-pop, grabbing our attention with a memorable cowbell hook that sounds like it was lifted from a Liquid Liquid out-take or Universal Robot Band's boogie classic, 'Barely Breaking Even'.

Ardent new-wave pop nugget from Mike Simonetti's quality-consistent label, Italians Do It Better, and a little teaser for the label's forthcoming 'After Dark 2' compilation, that's set for release later this year. Johnny Jewell's Glass Candy does a fine job providing an alternative take - their second mix in 11 years, apparently - changing the mood of the original somewhat. Instrumentals and 'beats' versions also included for general, all-round good value.

Loaded with trashy '80s-style synth hooks and clattering, tribal drums that you may have once found Rusty Egan playing to a bunch of trendy new-romantics. Holy Ghost return with some original material, after being occupied with a slew of remix work for the likes of MGMT, LCD Soundsystem, Moby and Phoenix. An anticipated return to the DFA bosom, but a little disappointing, as there's not such a great deal of variety within these four tracks.

A revealing, show-and-tell edit from NYC's Prince Language, who not only takes on Gary Low's 'I Want You', but at the same time, unveils the killer ingredient to Washed Out's chillwave smash, 'Feel It All Around'. Executed by way of slowing down the track at the halfway point, in a Lil' Louis 'French Kiss' or Those Guys 'Tonite' style, to the same sludgy tempo that Washed Out used. A more traditional edit is included, for those who find a tempo change of 123bpm to 87bpm a little jarring.

Re-issue of these 'lost' versions by Luke Solomon, who overhauled this Soft Cell gem with the genius, alternative rap from the infamous Cindy Ecstasy (by name, and by nature). The first heart-beats of techno and house music resonate through Ball and Almond's original, and this is carefully considered by Luke, as he updates for the modern disco with subtle nuances and a dub that wryly uses Cindy's rap like the "ecstasy" mantra in Joey Beltram's 'Energy Flash'. Killer.

Unnerving disco/techno dirge from SMD and the second release on their concept label, Delicacies, unmasking another facet to their production style. Rasping, vomit-inducing basslines rumble beneath steely, discoid effects and bone-breaking drum sequences. The whole thing is a wonderful, chaotic miasma, that may take a brave DJ to play, but at the correct moment, may evoke interesting reactions.

The Electric Lounge Lizard, and former face of Marks & Spencer, makes a return into the limelight with this single; preempting a solo album that reunites Ferry with Roxy Music's classic 'For Your Pleasure' line-up of Brian Eno, Phil Manzanera and Andy McKay, with co-production from Chic's Nile Rodgers. Accompanied with remixes from Audiojack, Tim Roe, John Monkman and Padded Cell/Richard Sen, it's the latter that proves to be the most interesting; taking cues from the spiky attitude of the 80's no-wave sound of downtown NYC.

Third of four singles from the Cos/Mes long-player that features a creepy, post-industrial, proto-house dirge from Thomas 'Rub N Tug' Bullock's schizo-pseudonym, Welcome Stranger.

!!!'s Justin Van Der Volgen and Lee Douglas producing together as TBD - turning the chirpy original into a valiant, Wagner-inspired piece of modern, electronic disco.

Disco Circus Records launches with these two rather polished disco tracks from Mighty Mouse. The standout track being the heavy tribal stomp of 'The Beast'. Effective, if not a little obvious.

Original NY underground disco rarity, produced by prolific

A huge alien mammoth with huge unblinking squid eyes grazes on fluorescent red grass under an electric green sky. A gargantuan long, free flowing bass zoom drives this supremely deep smooth roller, and it really needs to be heard to be believed. The proceedings start serenely, where an introspective riff takes you within yourself, then this overpoweringly long, perfectly processed electro growl subverts your being, shakes speakers, alters your insides and tautens sinews. Shadowy devastation.

Grandiose, enlightening and fruitful, with an anthemic intro that should be played solo and encapsulates the popular Hospital philosophy. Bright and somehow dark at the same time, there is a strange, ethereal Prodigy-style bleep here that gels with heart-rending strings. Then a clever mish-mash of a cute vocal sprinkle enters and develops into the lead hook as the beats kick in and make this a dancefloor smasher that all and sundry will enjoy - whatever their taste inclinations.

A supersonic reptile prancer causes worries and has hints of Dillinja-style production values. Jamaica gangsta speech with a tightly produced hyper break, complete with the requisite pins and needles jab riff and a serrated microchip rapid bassline. Let the games begin! 'Jigga' also rocks, where a soundboy vocal stab is cleverly cut and pasted, raising eyebrows as it dances over a barbed-wire electric fence of old skool-style big bass pressure. Two ruthless, dirty ditties.

Drum-banging veteran with a background steeped in dub reggae busts two half-step mashers in a highly fashionable style. 'Weatherman' is notable for its throat-grabbing, dark deserted space-station sub bass, hypnotising echo and towering vibes, but the acrid 'Shanty' does it for me. Could be a resurrection of Jacob Miller or Scientist at their best as its melodica-tinged, drawling bass dub pressure sneaks up behind you and smacks you up. Junglist spirit. Dirty-minded heady aromas.

One of those pieces that you might miss out on due to a slightly unfamiliar name and label, but neglect it at your peril - especially if you are one of those peeps who likes something a little different to brighten/darken your day. It's the partnership of an instantly attractive skipping break and classic chords here that work wonders, in combination with a seething and tumultuously overpowering 'vibes' bass that really makes you take notice. Hallucinogenic mist.

A superhero team-up. Craggz and Parallel Forces, who started life soulful and have now gone dark and dirty, and American poem 'Winterman' whose chanting, eloquent soothsaying rhymes are perfectly compatible here and adds reams of vibes to this d&b dark rhythm. Maudlin chords, shuddering keys and a future bass timewarp that Ed and Optical would be proud of add further emphasis to the spoken words. Works hard. Bodes well for a new C&PF album, due later in September.

Time for that famous speech from 'Apocalypse Now' to resurface - not overused, but certainly familiar. As 'Angel' warning sirens, Reese Project bass and an urgent break create an air of impending doom and violence, actor Martin Sheen exclaims those famous, post-traumatic-stress-tinged words: "Every time I think I'm gonna wake up, back in the jungle!" Flipside is akin to the Suburban Base jungle daze as a Demon Boyz 'Who Jah Bless!' stab repeats over skipping snares. Solid.

Love the rude boy reggae hook in this ferociously friendly ragga-jungle number that will have the kids crying into their pillows and you chanting along as you pump your fist. With a frantic rush-inducing slap-thwack break that breaks down the door as soon as this starts, we are also treated to some intro speech courtesy of David Rodigan before the reggae sample kicks in and paves the way for a junglist warping bass and knees-up riddim. "Wheel-up and come again," as they say.