There is equally as much British influence as there is Berlin throughout the four track sampler though, leaving a final product of quality music that will fulfill expectations of bass, house & techno fiends alike.

Without a doubt, the title track Counterchange is the standout track of the record. Drawing a powerful image of heartbreak for me personally, I found it interesting that a dance record can purvey two emotions that would usually be considered polar opposites. I wouldn't be alone in thinking that dancing is for when you're happy; but could it be that plenty of people also dance when filled with sorrow? I think this excellent bridging of both genres and emotive power make for such an excellent track. Counterchange is a superb track for the home listen but due to it's electronic nature and influence it would also hold well on the right dancefloor.

The emotive theme does ring true throughout the record, but the melancholy factor is definitely toned down around the (semi) straight beats of New Yorkshire and Cyanotype. The former makes use of some interesting analogue sounds and starts with heavily produced tones, rather than chord progressions and melodies. Slowly building towards more of the aforementioned, Davenport manages to hold on until the dying moments before dropping a huge driving, highly resonant lead. Love the live sound programming, it really changes a whole track when you can envision the knob twiddling that went down at that moment in time.

The Inception mix of Cyanotype starts with some questionable kick programming that reminds me of some shocking tracks in the pop charts at the moment. As expected it does eventually evolve into much familiar territory, with beautiful pads sitting back in the mix that almost guarantee that the best is yet to come. The strange rhythm of the lead is foundation enough for a strong groove that remains constant throughout. If I didn't know better I would say this is a little experiment with different time signatures.

Ed plays around with some serious percussion records on Djungel Alliance. A heavily swung, dubbed out number starring some excellent percussion recordings that nod to the origin of this particular tracks title. The tribal influence is allowed to shine through by a perfectly verbed chord progression that zones in and out of space allowing the percussive elements their own rightful space in the mix. An ongoing journey of five and a half minutes, Djungel Alliance does everything right and changed my mind about this record entirely.

Out 12th March 2012 on NRK Music.

With the recent pulse of refreshingly good music coming from the bass-turned-techno producers of the UK right now, it's clear Kevin Griffiths has been inspired to release less forward thinking music. Instead, returning to former elements of house music that have been & gone, lost and seemingly returned to the surface. Tazz has managed to capture the essence of Detroit in convincing fashion, melding legendary sounds of the past with modern day production techniques.

Although oozing with obvious Detroit influence, Tazz has managed to craft a unique sound, melding both the emotive, raw and melodic flavours of motor city with a clean "in the box" finish for safety.

Sure enough this may not please the techno purists of the world, but we're in an exciting place for dance music right now.

Giovanni's Keys sets the tone with a pleasantly distorted kick and thick set sine wave bass riding the storm throughout the whole track. The secondary bassline sits comfortably as the main melody of the track, with tough synth harmonies darting in and out and shuffling around the stereo image. The delayed gritty claps come in and out supplying that extra rhythm when totally necessary. Perhaps the finest example of how Tazz has crossed the borders of Detroit with European big room raves, a large scale track with some heavy production, but never stepping a foot out of line.

No record that claims inspiration from the big smoke would be complete without two things. Strings... and acid. Worked It, one of only two collaborations on the album see's Tazz link up with close friend and long time collab partner Bacanito. The journey begins with percussive (almost modular) synth sounds before taking flight elsewhere between running acid lines and strings that inspire a strange melancholic yet triumphant emotion.

Many Reasons will satisfy anyone urging for some serious melodies and sound programming. Have a listen to this in headphones if you want to feel/hear the true power of panning. Without doubt the most authentic sounding track on the twelve inch sampler and perhaps the album too, the constant changing of melodies and a mix down that would have tested even the popes patience makes for a standout track. The soaring high end sounds are a tad cheesy at first but when that final bassline comes rolling in, it all makes perfect sense.

To close things off, Captain Groove & The Oscillators gets down low in the sub frequencies with very subtle drums making way for larger than life rave scenes and that one note string that will send any pill popper tweaking.

Excellent stuff from Tazz and exciting times ahead for Tsuba Records.

My first post was Late Nite Tuff Guy's edit of Kate Bush so I thought it would be appropriate to start 2012 properly with another. This is a great edit by Mighty Mouse. He played Sugar last year and said some very nice things about a few ITDE DJ's.

I have just started reading a Biography of Kate Bush. Her early years remind me of Malcolm Gladwell's book Outlier. She was born in the right place, right parents and met the right people - in the same way Steve Jobs and Bill Gates were to the world of computers. Her brother was friends with Pink Floyd's David Gilmore. He saw her early songs when she was 15 and got her signed to EMI. With an advance from EMI  she cultivated her style and at the age of 18 she had her first number 1 single. Born in another time when a record label wouldn't invest and wait for a talented musician to grow she might have become the artist she is today. Would love to hear this modern take on her classic song.

There is no denying the Knickerbocker EP reaches new heights for Mic, as both as a producer and writer. The melodic elements throughout the record mark new musical ground for the young Melbourne resident, combined with larger bass sounds and experimental percussion. It's clear that Newman has found his stride and this release will no doubt see him leaving our fair shores for greener pastures in Europe.

The title track is a powerful number that wouldn't be out of place coming from Pets Recordings, with a hint more class and originality. A simple bassline sits nicely under the pitched vocals, glitchy chords and a beautiful vibraphone that could well be sampled from Mr Vibraphone himself, Roy Ayers.

Following a strong theme of more "open cutoff" synths, It's Time vibes around a slightly stronger bassline groove and the trusty 707 rim shot. As annoying as the rim shot can be at times, Mic slots it in just the right places at the right time and pulls it off like the house veteran he is rapidly becoming.

Forever In My Chart rounds off the record in astounding fashion, more pitched vocals jump around the rhythm section chasing the ridiculous chords that come up and down in accordance with the more gentle bassline.

As expected, Mic throws down a slamming record that provides everything a growing boy needs. His claps are amongst the best I know.

What was your earliest musical memory?

A Beatles record with a scratch.

You mentioned in an interview how important it is to know the history behind disco and house as I DJ, I wonder how you first got into learning about the history?

Books, DJ mixes, playlists, friends like finn johannson, marcel vogel, lexx, mark seven and others, the internet, my ears.

How do you approach making an edit or remix compared to making an original track? do you see it all as a continuum of the same process?

Very much so, yes, I don't work these things very differently... remixes have a tighter deadline. Generally just looking for a start to get into the musical material, wether it be parts of the remix or my own... and then developing it, experimenting, getting excited.

You have had releases coming out for about 4 years but you have been producing longer. At what point did you feel you became a fully fledged producer instead of a bedroom producer?

technically i still feel like there hasn't changed very much...so much to learn, so many mistakes... but there is a changing point, when you know, you can release the music you work on, if you want to.

What sort of equipment do you use to make your tracks? are you more into hardware or virtual instruments?

Ableton, Roland, Oberheim, Doepfer, xoxbox, Studio Electronics, Mackie, Tannoy, Klein & Hummel.

You used to work in a record store? How do you feel about the decline in record stores around the world?

Its sad, thats what it is. times are changing.

You had a release on Osgut Ton. How did that come about? Do you have a close link with the legendary club?

Prosumer asked me to contribute a track for his mix-cd at some insane hour at Panorama Bar. Then he invited me to play a sunday evening set at the release party with him and others great DJs. I love that club, there's no place like it in this world. and i have mucho respecto for Prosumer, he is all the things I love about house music.

You talked about the importance of being an adventurous DJ How has Australia reacted so far to your style? what do you have in store for us on Thursday?

Well, Melbourne, so so sick! shoeless, shirtless, sweaty, fog machine, communicative, six and a half hours of screams and movements...very intense basement vibe! Sydney, difficult start due to some police dog operations, but after taking all the turns, through New York, Jersey, Chicago, Detroit and Lagos ... love in the air! Adelaide Adelaide Adelaide... let's make this love a little bit stronger.

Which leads perfectly to Roberto Rodriguez' remix for New Yorker, Vanessa Dauo. Aptly titled, his rather lengthy remix which stretches more than ten minutes, further cements that Roberto is on constant top form. I don't think I've heard a remix from him in the past years that I didn't enjoy. Once In A While is certainly no exception, his trademark jumpy electric piano chords lay a solid groove which leads for more subtle variations throughout the track. As always his drum track is too tight to mention, melding analog grit and natural percussive elements.

Those powerful rhythms are capitalised in the gorgeous dub version, which is no doubt my pick of the entire record. Once In A While received the remix rub down from four producers including Roberto, but his renditions stand out like a sore thumb for those seeking dancefloor heat. The tribal vibes are turned up a notch, including the volume of all the percussion and lead melodies. There is a very delicate and majestic use of Daou's sultry vocals deep into the track during the break, with that aside this dub remix is designed for one purpose.

Once In A While is out now on Outsider Music. You can buy it digitally here.

Ultimately, he's turned a perfect track into something different, whilst maintaining the same superb quality of the original track. This is a must have for anyone that hasn't heard The Love Quadrant, those who have, and those that wanted a slightly longer version.

Splitting Atoms relies on a trusty old drum machine that is no surprise in this genre, but his genius use of emotive chords combined with a sombre bass line make this a powerful house track that will connect with club goers on many different levels. A wannabe acid line and moving vocal samples remove any uncertainty that this is a record for dancing to, not getting pensive.

Justin Drake kills the remix tip with a sound similar to the Wolf Music clan, garnering support from Chicago Damn, Cottam & Ethyl to name a few, this is clearly the one satisfying the palette of those selectors wishing for a little less thought on production and more focus on capturing the raw essence of a house track.

The Terrence Dixon mix gets much respect from me but it's certainly not going to be in any prime time DJ sets in the near future. Atmospheric pads take hold, and that's about it. Only a producer from Detroit could get away with this remix, it's beautiful, but there really isn't much going on.

Splitting Atoms is released on Rationalism on 28th February 2012.

The twelfth release in their quality collection is a pair of high profile techno remixes from MDR founders Marcel Dettmann & Norman Nodge respectively.

I was lucky enough to catch Trus'me play at Sugar earlier this year with Move D and much to my surprise the dude entered some dark and ominous techno territory towards the end of the night. Being first introduced to David James through tracks such as Tony Does What Tony Wants (also on Prime Numbers & stilove4music for those who aren't acquainted), I had no idea how strong the influence of Europe was bearing upon him.

This latest record solidifies any further proof needed that Prime Numbers is a techno and house label, which could have been easily confused for a disco/house label less than two years ago.

No release details as of yet, but will be released on Prime Numbers in early 2012.

The young Sangoma Music imprint from Cambridge is ready to drop their number two. This time turning to label honcho Nik Frattaroli for the goods, with only Rio Padice stepping up to the remix plate.

Frattaroli being an ex Mancunian, has house music running through his blood stream and a heavy supply of cultural influence to rely on for inspiration, which shows through in every moment of the record. Tipping his hat to the true sound of Manchester on Clear Blue with a smooth acid bass line that doesn't get too self indulgent reaffirming his strong focus for dance floor tracks.

Under Attack follows a slightly more tropical ethos which offers some explanation of the witch doctor visuals, Nik once again lays down a strong groove and cuts heavily dubbed out vocals to keep the mojo flowing.

The slowest/deepest burner of the record comes courtesy of For Real, opting to stay vocal free and placing the gritty 909 drum track upfront in the mix. For Real is certainly no groundbreaking moment but it's another fine track inspired by years gone by. The Rio Padice remix is slightly more suited for a dancefloor with a heavy square bassline.

Out February 12 2012 on Sangoma Music.