
From mix releases courtesy of dance music royalty, through archival deep dives and explorations into global scenes, to sprawling collections raising funds for crucial causes, here is DJ Mag’s unranked overview of the compilations that made the past 12 months so memorable for electronic music in all its forms
DJ Mag
19 December 2024, 15:15

V/A
‘⌘ (English Heritage)’ [TranceParty]
Since 2013, Evian Christ’s TranceParty has combined British cheek with emotional peak, creating a whole universe out of Danny Welbeck memes, Atomic 3000 strobes, and monumental synths. This year, TranceParty debuted its label with ‘⌘ (English Heritage)’, mixed by Evian Christ and Seretide. Cascada’s ‘Every Time We Touch’ reimagined in the space opera supersaws of ‘Ultra’; Pitbull’s ‘Hotel Room Service’ riding a dark, broken beat; Usher’s ‘Yeah!’ propelled by MM’s hard drum anthem ‘9th Ritual’; here’s over a decade of TranceParty’s sound in one deadly record. JAMES GUI
V/A
‘20 Years Of Phonica’ [Phonica Records]
Purveyors of records across many genres but specialising in all forms of dance music, Phonica’s latest compilation is a reflection of the store and label’s open-minded approach. The three discs align established artists and emerging talent, with various tempos through different shades of house and techno. Highlights include Tim Reaper & Comfort Zone’s junglist excursion, Roman Flügel’s off-kilter rhythms, Shanti Celeste’s dreamy remix of ‘Luna’ by Niños Indigo, and Willow’s trippy ‘Willbrush’. A thoughtfully curated VA that proves Phonica’s finger is still on the pulse. ANNA WALL
V/A
‘20/20 Volume 3’ [Twenty Twenty London]
Ivy Lab’s Twenty Twenty London record label’s third V/A is its largest helping yet, and it plays like a music jam where the prompt was the word “hybrid” scrawled in Jack Torrance handwriting. Rhythm sections can morph multiple times in songs, like Glitch Mob’s industrial mangle of bass and Jersey club, or find a comfortably awkward in-between in the case of Bakey’s UK bass/2-step concoction. It’s all tied together with scuzzy, silver atmospheres hammered by livewire low-end — a reflection of the Lab’s freewheeling boffinry. NATHAN EVANS
V/A
‘22DD24002 “La música infinita” x Valencia’ [22recordings]
40 artists came together on this compilation, with all proceeds going to the charities aiding those affected by the environmental disaster in Valencia. A collection that showed solidarity and compassion, while reflecting the house and techno sound of the label, artists who contributed included JUAAN, tINI, Z@p, A.M.Q.N, LVCA, Nativo, Stefano Andriezzi and label owner C.ru.z. Since its inception, 22recordings has gone from strength to strength and this VA shows the crew are in it for all the right reasons. ANNA WALL
V/A
‘29 Speedway: UltraBody’ [29 Speedway]
New York City label 29 Speedway brings a smoky formlessness to dancefloors in Brooklyn and beyond. The imprint’s September compilation, ‘UltraBody’, ruminates on autonomy in the digital age, cementing it as a home for screen-fried electronic noise and skeletal beats. Contributions from James K, Jake Muir, pent, present an uncompromising vision and challenging but worthwhile listen. It hints at the ethos of the broader club culture, which is rarely as chill as it’s often made out to be. TED DAVIS
CCL
‘A Night In The Skull Discotheque’ [T4T LUV NRG]
CCL is equal parts sonic archeologist and new-school brain-bender. With ‘A Night in the Skull Discotheque’, they take a relatively straight-ahead idea — exploring the sound of “proto-dubstep” — and explode it into umpteen constituent parts: vertiginous dub and old-school acid, piano-house stompers and no-BPM bass-drum workouts. The result is a staggering assemblage of dance music histories, an alternative narrative of dubstep’s roots, and a celebration of club-night psychedelia. Here, as ever, CCL twists timelines into Möbius strips even as they gesture towards a million possible futures. MICHAEL MCKINNEY
V/A
‘AE-MJ-001.2: The Collective Capsule Vol. 2’ [Mala Junta]
What happens when Mama Snake and Tanya Akinola’s label, Amniote Editions, teams up with Berlin’s favourite queer party, Mala Junta? A stacked compilation comprising 22 tracks that run the gamut of sparkly trance, stompy techno, rugged breakbreats, bucket hat rave, and many sleek and gnarly sounds. The capsule ripples with loose and limber melodies, chunky kickdrums and a blend of softer atmospheres to more robust patterns and tripped-out motifs — an essential collection to soundtrack both the peak-time and weirder moments of the night. NIAMH O’CONNOR
V/A
‘Aluku Records Various Compilation SA Edition Pt. 4’[Aluku Records]
‘SA Edition Pt. 4’ marks Aluku Records’ 100th release with a return to its roots. Paying homage to the fluidity of South African electronic music, the compilation boldly blurs the lines between Afro-house, tribal, tech, and 3-step. This celebratory release draws on a decade of innovation, with pioneers Dlala Thukzin and Funky Qla reimagining their gqom roots, and Masuda teaming up with label founder Aluku Rebels for a symphonic Afro-house/3-step fusion. Aluku’s legacy grows as it charts a thrilling new course for the genre. MAKUA ADIMORA
V/A
‘Bryan Gee Presents 30 Years of V’ [V Recordings]
One label you can always rely on for slick V/A albums is V Recordings, and its latest output, toasting 30 years of the imprint, is arguably the hardest-hitting one that label boss Bryan Gee has curated yet. Stacked with heaters including Alibi’s ‘Rave Digger VIP’, and featuring heartfelt moments like a feature from the late MC Fats on L Side’s ‘Love In The Heart’, this album is testament to a label that’s a beacon for underground drum & bass culture. JAKE HIRST

V/A
‘Chakravyūh’ [Qilla Records]
Spanning 35 tracks and 222 minutes, the digital version of ‘Chakravyūh’ (it’s also available as a condensed vinyl release) is a generous invitation into the expansive, experimental electronic world of New Delhi-based Qilla Records. The highlights? Try the transcendent ambient of Re:Axis’ opening track ‘Inner Child’, Monophonik’s deep, bassy banger ‘Hypertension’, and the kaleidoscopic techno of ‘A Bird Above The Clouds’ by label founder Kohra. A milestone release for an imprint that has consistently championed emerging sounds from India and beyond. CLAIRE FRANCIS
V/A
‘Chromesthesia: The Colour of Sound Vol. 1’ [Chromesthesia]
Twenty-five mangrove forests are the backdrop for Dr. Hannah Elsisi’s musings on the ubiquitous presence of ancestral Afrodiasporic drums in contemporary electronic music. Multilingual jazz, amapiano, raptor house, mahragan, dancehall and ambient narrated by Sho Madjozi, LYZZA, Gaika, Dj Babatr, Deena Abdelwahed, KUKII, Nick León and Kelman Duran map stories of migration and cohabitation. Dr. Elsisi invites us to walk “from this mangrove shore to that”, but I found myself floating through the fluid meditations of place and freedom. AKILI VIVECA LEE
V/A
‘Club Moss’ [Wisdom Teeth]
Launched by K-Lone and Facta in 2014, Wisdom Teeth initially served a key role in the development of UK bass. The imprint has slowly skewed balmier, platforming tittering experimental releases too. On its 10th anniversary compilation, ‘Club Moss’, Wisdom Teeth tapped mainstays and newcomers alike, beaming pieces from Yushh, Purelink, Cousin, Tammo Hesselink and others through terrariums forged from sturdy frosted glass. With a thriving ecosystem at the core of every track, ‘Club Moss’ is a vital ode to the glimmering propulsion that defines Wisdom Teeth. TED DAVIS
V/A
‘Dekmantel Ten: A Decade Of Dekmantel Festival’ [Dekmantel Records]
Few compilations released this year were as star-studded as ‘Dekmantel Ten’. Saluting a decade of the Dutch powerhouse festival, the 43-track behemoth featured exclusive material from artists who’ve been indispensable to its story to date, curated with an expert hand. OG performers Karenn (AKA Blawan & Pariah) and Marcel Dettmann serve up huge, techy jams, alongside futuristic stompers from storied Dekmantel headliners like Young Marco, Palms Trax and Alchemical Sisters, bottling the inimitable energy of the festival to enjoy all year round. OLIVIA STOCK
Honey Dijon
DJ-Kicks: Honey Dijon [!K7]
Honey Dijon uses her long overdue ‘DJ-Kicks’ compilation as an opportunity to school the children on the Black, queer history of house music, offering a masterclass in the genre’s fringes. This isn’t her usual curriculum; instead, she delivers a stylish mix of oddities. From the lo-fi acid of The Dance Kings’ ‘Climb the Walls’ to the deep groove of Wajeed’s ‘Right Now’, Dijon connects the dots effortlessly, curating a collection of hidden gems and one of her best sets to date. TAZMÉ PILLAY
V/A
‘EARFUL OF WAVS | VOL.3’ [Earful Of Wavs]
The third installment of London-based label Earful of Wax’s digital compilation series continues to cement its reputation for championing forward-thinking sounds. Showcasing 12 tracks from 11 emerging producers spanning the UK and beyond, the compilation leaves no sonic territory untouched, exploring grime and dancehall-infused techno, baile funk vox and lots of percussion. A personal highlight is Mixtress demonstrating the power of UK rap vocals layered over dubby four-to-the-floor. Now in its fifth year, it's clear the label’s ears are still placed firmly on the dancefloor. DAMETALMESSIAH
V/A
‘EQ50 presents 4GAZA’ [EQ50]
Released at the tail end of 2023, ‘4GAZA’ showed equality-focused collective EQ50 not only aim to change things for the better in music, but through music. Twenty-three tracks from the crème de la crème of modern jungle/D&B — Double O, Charla Green, Halogenix, Fearful, Mandidextrous, Wingz, Nectax, Mark System... you get the point — were collated to raise funds for those affected by the atrocities being committed in Palestine. Sonically diverse, with impeccable production, it’s still an essential cop a year on. BEN HINDLE

Shygirl
‘fabric presents Shygirl’ [fabric Records]
This year, Shygirl honed in on the dancefloor. She may be an unconventional choice for ‘fabric presents’, but she is the right one, showing that the institution still has its finger on the pulse of what’s current. Weaving tracks from her club ready EP ‘Club Shy’ between the likes of Eliza Rose, Nick León, and HudMo, Shygirl’s selections are a raucous celebration of UK house music’s present and future, solidifying her as one of today's most essential forces in electronic music. TAZMÉ PILLAY
Laurent Garnier
‘fabric presents Laurent Garnier’ [fabric Records]
It was astute of fabric to plump for French don Laurent Garnier, quite simply one of the GOATs, to mix their 25th birthday comp. He of course went the extra mile as is his wont, turning in no less than four mixes with wildly different flavours. What other DJ can encompass flamboyant ’n’ fly US house, immersive juddering techno, ruff ’n’ rugged UK beats and bass, and tender ambient folktronica with absolute authenticity and authority? Please don’t let this be Garnier’s last ever mix comp — quite simply magnifique. CARL LOBEN
‘fabric presents Laurent Garnier’is available to purchase via Bandcamphere.
V/A
‘Federation Of Rytm III’ [Mutual Rytm]
Many of the most talked about compilations tend to be long running series now getting up there in age. Thus, it is with great excitement that relative new kid on the block Mutual Rytm’s latest installment, ‘Federation of Rytm III’, has broken that trend, serving up 30 carefully curated heavyweight slabs of techno to get our synapses firing. Available on vinyl as well as digitally, this isn’t one to be missed for those of you who can hack the heat. REISS DE BRUIN
V/A
‘Footwork: We all we got’ [Self-released]
Released to raise money for Chicago footworker PrinceJron and his family, who tragically lost their home and everything they had in a house fire, ‘We All We Got’ reflects the close-knit community spirit that has always been the lifeblood of footwork. Think of producer essential to the genre and you’ll find their name here, from RP Boo, DJ Clent, DJ Rell and Traxman to DJ Earl, DJ Manny, EQ Why and Kush Jones. A true family affair packed with revitalising rhythms. BEN HINDLE
‘Footwork: We all we got’is available to purchase via Bandcamphere.
V/A
‘Fragment / 1’ [1985 Music]
1985’s new V/A series touches all corners of the broad bass music space the label occupies. It opens with a trifecta of 140 BPM savagery, before upping the tempo with usual suspects Visages, Bredren, and label boss Alix Perez — whose much-anticipated liquid gem ‘Bloomsbury’ finally lands. Fresh face GLM gets his 1985 debut, and it fits like a glove, while Brandy Haze, Eijer, and Satl continue to innovate with their R&B-infused D&B. A dynamic 12-tracker that’s bang on brand for Perez’s crew. SAM YATES
The Carry Nation
‘Full Tilt Carry - Vol. 2’ [Nervous Records]
The Carry Nation — AKA New York’s Will Automagic and Nita Aviance — are two of their city’s finest curators of house music. With ‘Full Tilt Carry - Vol. 2’, they ran back an undersung compilation from 2023, grabbing armfuls of funky and playful drum tracks with plenty of skip in their step, offering lots of peak-time material in the process. It’s tough to nail down the sound of contemporary New York dancefloors, but ‘Vol. 2’ —with its firestarting fusion of guns-blazing house, sassy techno, and retrofuturistic breaks — comes close. MICHAEL MCKINNEY
V/A
‘funk.BR - São Paulo’ [NTS]
São Paulo is a city so large, it makes cargo planes look like crickets in a field of grass. Taking on a survey of the city’s metallic, ear-eviscerating funk mandelão scene is a huge undertaking, but NTS managed to do so with ‘funk.BR - São Paulo’, while capturing a sense of the urgent city it all comes from. An almost infinite flurry of mixtapes and SoundCloud uploads later, the funk mandelão scene has already moved on and evolved, but at least we have this pillar of its rapidly-growing history. NATHAN EVANS
V/A
‘Ghana Special 2: Electronic Highlife & Afro Sounds in the Diaspora 1980-93’ [Soundway Records]
Like many of the best compilations, the second ‘Ghana Special’ album shone a spotlight on a genre of music that had been neglected by history, in this case "burger highlife”, created by the Ghanaian diaspora in the ’80s. While the name may sound corporeal — it comes from “bürger”, the German for “citizen” — the sound proved as rousing in 2024 as it must have done originally, incorporating influences such as disco, R&B, new wave, zouk and soca into Ghanaian highlife. BEN CARDEW
V/A
‘It’s Elastic’ [Fever AM]
The best techno of 2024 didn’t really sound like techno. Sure there were mixable kick drums (sometimes), but the most forward-thinking labels pushed sounds that drew as much inspiration from the global bass continuum as Detroit or Berlin. Case in point was the appropriately titled, ‘It’s Elastic’, from Mor Elian and Rhyw’s FEVER AM label. From the dembow acid of Sister Zoto the apocalyptic dubstep of Lukas Wigflex and Son of Philip, these tracks present a vortex of broken rhythms and contorted melodies. HENRY IVRY
VARSHA + 4AM NYC
‘IYKYK ~If You Know You Know~’ [Air Texture]
‘IYKYK’ tapped 17 femme and non-binary producers from across the global queer community, offering tracks for all phases of a club night: deep and expansive, spacious and experimental, pulsating and glitchy — there was a lot to pick from. Though there were no strict genre restraints, the compilation shined best with when it leaned into golden-era New York house: sultry basslines, thumping kicks, playful toplines, soulful vocals. We’ve had Lauren Yoon’s ‘Baila!’ and 4AM NYC’s ‘STILL’ on repeat all year. RIA HYLTON
V/A
‘Kampire Presents: A Dancefloor in Ndola’ [Strut Records]
If the gqom, singeli and other Afrofuturist sounds in Kampire’s club sets present a clear sonic snapshot of the contemporary sounds of the global African diaspora, the Ugandan DJ’s first compilation feels more like looking through old family photos. Named after the Zambian town where she grew up in the ’90s, ‘A Dancefloor In Ndola’ features the Congolese soukous, South African township bubblegum and even early African proto-house records she would dance to at home — none of which have faded over the years. PAUL CLARKE

V/A
‘Letters to a Future Palestine’ [UMAY]
To maintain a sense of hope in the face of staggering adversity is in itself a powerful act of resistance. That's the defiant message behind this 19-track Gaza fundraising compilation, curated by Nene H and Samira and released via the former’s Umay label. The vibrant array of techno, breaks, trance and experimental sounds here act as "a postcard from a future Palestine", uniting Palestinian producers as well as "international allies who share this vision", including rRoxymore, Alinka and Hassan Abou Alam. CLAIRE FRANCIS
V/A
‘Lost Paradise: Blissed Out Breakbeat Hardcore 1991-94’ [Blank Mind]
The UK’s dance scene developed at such a pace in the early ’90s that dusty treasures from the era still remain hidden in record racks, obscured by more famous 12s. This compilation zeroed in on rarities from the period when breakbeat hardcore was morphing into jungle, especially tracks with an ethereal aura. DJ Mayhem’s ‘Inesse’, with its swirling chords, celestial divas and cascade of Amens, captures the attention, and The Invisible Man’s ‘The Flute Tune’, with its melodic 808 bass and beatific vibe, anticipates ambient jungle. BEN MURPHY
The Bug
‘Machine’ [Relapse Records]
Dystopian dub, coldwave techno, smogged electronics and combative beats all combine on this blistering anthology from Kevin Richard Martin. ‘Machine’ splices together tracks from a set of EPs Martin has released sporadically through his PRESSURE label over the last two years. The “floor weapons”, as Martin has named them, are his first set of solo instrumentals, rendering in finer detail his proclivity for meshing metal, dub and industrial noise with body-shaking basslines. A perfectly formed and suitably pulverising addition to the repertoire. OLIVIA CHEVES
V/A
‘MOVELT JUKE JAM 3’ [Moveltraxx]
London-via-Paris juke and footwork label MOVELTRAXX firms up its status as an essential outpost for Chicago’s underground sounds across the pond with this 16-track comp. Tracks from new-gen figureheads like Heavee and DJ Manny appear next to cuts from legendary figures like Traxman and the late, great genre pioneer DJ Rashad, all culminating in a feast of feverish rhythms and glitching vocal hooks that’ll wriggle their way from your brain all the way down to your feet. Irresistible. EOIN MURRAY
V/A
‘no pare, sigue sigue 3’ [TraTraTrax]
It was another knockout year for Medellín’s TraTraTrax, and with the two new editions of its ‘no pare, sigue sigue’ series, it furthered its mission to take club music into the future. We could have feasibly picked either release for this list, but November’s 16-tracker just pipped it thanks to the barnburning dembow rollers of Coffintexts and Amaliah, technoid bass zappers from LWS, Ma Sha and 10010, and percussive scorchers from 3Phaz and De Grandi. Another glowing jewel in the TraTraTrax crown. EOIN MURRAY
V/A
‘No Tears In The Backroom Vol. 2’ [Polari]
Panorama Bar resident Cormac’s label Polari has been at the forefront of pushing classic gay disco genre Hi-NRG into future, tapping bigger names like HiFi Sean, Hard Ton, and Nimmo for hyperactive spins on the big pink mirrorball. This second compilation takes an unexpectedly welcome swerve into Eurodance and early trance sounds with Louis De Tomaso’s ‘Rectifier’ and Jordan Nocturne’s ‘Is It Trance?’, while electro-funky ‘Money for Nothing’ by ROTCIV may well bring breakdance popping and locking back to the queer dancefloor. MARKE BIESCHKE
V/A
‘Obligated Records Vol. 1’ [Obligated Records]
For the first various artists compilation on Obligated Records, label founder Oblig pulled together 15 tracks from artists producing the grime/techno sound he has played a huge part in pushing in recent years. Featuring music from MJK, 1OO1O, Bianca Oblivion, Toura, Jossy Mitsu and more, the collection was a superb distillation of the sounds he spins in his club sets — and on his weekly Rinse FM residency — blending grime with elements of techno, UK funky, trap, a range of Latin American club music and more. ROB MCCALLUM
Optimo
‘Optimo 25’ [Above Board Projects]
‘Optimo 25’ demonstrates Jonnie Wilkes and JD Twitch’s excellence in the field of finding obscure tracks and repurposing them for the dancefloor, and as ever, their range of genres remains impressively distinct. Across two vinyl volumes, this comp includes all sorts of post-punk, dub, krautrock, hi-NRG, techno, disco and more, providing a brief taste of the might of the Optimo sound, an entire club aesthetic built from some of the most awkward, unlikely, yet — when surrounded by dancefloor freaks at 3AM — wonderful selections. HAROLD HEATH
V/A
‘Radiant Records Palestine Comp’ [Radiant Records]
The newest compilation from Berlin-based Radiant Records is chock-full of interesting club clobber. There’s ear-itching trance from eoin dj, freaky rave energy à la Angel D’lite, and a cosmic floorfiller from label chief byron yeates, as well as serotonin-swelling cuts from Radiant alumni Abdul Raeva, Maara, Blu:sh, IN2STELLAR and more. Beyond just sounding good, the release is also doing good, with all proceeds going towards supporting people affected by the conflict in Palestine. A no-brainer addition to any club kid’s collection. OLIVIA STOCK
Kelela
‘RAVE:N, The Remixes’ [Warp]
The title track of Kelela’s ‘RAVE:N’ is dedicated to rebirth, and that spirit of renewal could not be further realised than on this remix album. Long hailed as a pioneer of Black electronica, she harnesses fellow auteurs from across the scene — TYGAPAW, Loraine James, LSDXOXO, NGUZUNGUZU — to carve her singular brand of hyper-R&B into new configurations. Take ‘Divorce’, once a near acapella lament that turns even more haunting under a footwork remake by DJ Manny. It’s as watery, liquid and lucid as its predecessor, all in a new font. CHRISTINE OCHEFU
Eris Drew
‘Raving Disco Breaks Vol. II - Rock the House’ [T4T LUV NRG]
Breaks? Eris Drew’s got ’em. Disco? Well, disco can be anything you want it to be, right? And raving? Hell yeah! We love a bit of truth in advertising, especially when it comes in the form of the second edition of Drew’s ode to the joy of dancing your ass off. Tunes upon tunes, layers upon layers, drops upon drops — and yes, a dusting of rock, in the form of cameos from Led Zeppelin, Janis Joplin and others — add up to perhaps the most exhilarating 90 minutes of music this year. BRUCE TANTUM
V/A
‘Redline Impact’ [Eastern Margins]
UK East and Southeast Asian club night and label Eastern Margins expanded their universe this year with Redline Impact; notable additions to their roster include Chinese cloud rapper Billionhappy, Filipino budots pioneer DJ Love, and Bristol break alchemist gyrofield. Uniting these disparate artists isn’t necessarily their shared Asian heritage, but rather their unique approach to sonic intensity. Sometimes that intensity bears itself out in campy club mutations, as in hyperpop tracks like ‘boyband’; at others, it’s through maximalist genre clashes like ‘Cinta&Balapan’. JAMES GUI

V/A
‘SLSWP - Vol. 2’ [Soul Swap]
At this point, you can’t discuss Los Angeles’ underground without mentioning Mapamota. Her party-turned-label’s second comp is a scalding snapshot of LA as a formidable international dance destination. Big bass underpins house, breaks, acid and techno helmed by a dream team of local headspinners, including PHYLISS JAXSON, Lara Sarkissian, Sevyn0000, Freeman 713 and Oak City Slums. Kindred spirits DJ Juanny, Manuka Honey and Siete Catorce nestle into this palm tree-lined warehouse soundtrack, not letting up until Space Master’s sanguine closer. AKILI VIVECA LEE
V/A
‘Synergy Vol. 2’ [B.A.D.]
B.A.D. tapped talent from across clubland for this year’s edition of ‘Synergy’. Utrecht’s CARISTA, Berlin via London’s Yazzus, Naarm’s Afrodisiac, Chicago’s Shaun J. Wright — all dropped tracks for round two, offering squelching acid, twinkly techno, undulating 4/4 and more. The range expanded on the platform’s 2023 debut comp release and threw up some real gems, and names, too. Fresh, punchy, progressive, it definitely put the world on to a few newcomers. RIA HYLTON
V/A
‘Synthesizing the Silk Roads: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Crimean Tatar Jazz from 1980s Soviet Central Asia’ [Ostinato Records]
This compilation pops the hood of the Soviet music machine to examine one its central valves, the Tashkent Gramplastinok, Uzbekistan’s foremost vinyl factory in the ’70s and ’80s. Collated from plant deadstock and vintage TV recordings, it distills the sounds of Central Asia’s state-sanctioned disco era, encompassing new wave boybands, funked-up Uyghur folk rock and dissident jazz. A fascinating insight into the USSR’s early club scene, and a timely reminder of the powers that continue to suppress creative freedom in Uzbekistan to this day. OLIVIA CHEVES
V/A
‘Time Volume 6’ [Slimzos Recordings]
If you want to know what’s good in grime, head straight to the source. Slimzee’s Slimzos Recordings rounds up the best new beats every January through the ‘Time’ series, but for 2024 he took it up a notch with a double-sized payload of dank and deadly half-time stompers. On ‘Volume 6’, sliced-up samples smash into bruising low-end with a freewheeling energy that tracks back to grime’s maverick roots, as label mainstays and fresh-faced upstarts alike testify to the rude health of the modern scene. OLI WARWICK
V/A
‘TRAИƧA’ [Red Hot Org]
Enduring healthcare accessibility and equality advocate Red Hot Organization presents a tender-hearted, eight-chapter rumination on becoming. This sonically expansive labour of love celebrates transgender people’s existence and resilience through a glorious profusion of original tracks from the likes of Beverly Glenn-Copeland, Sam Smith, Ahya Simone and claire rousay. Jlin & Moor Mother’s strung spoken word, Moses Sumney’s SOPHIE cover and Sade’s unconditional love ballad add to a timely reminder that all of our commonalities are natural, all that separates us is not. AKILI VIVECA LEE
V/A
‘TREKKIE TRAX :branch Vol.03’ [Trekkie Trax]
Over the past 12 years, Trekkie Trax has risen from a scrappy netlabel to a central player in Japan’s dance music scene. The open submission compilation series, ‘:branch’, sees the imprint turning to the scene’s next generation. Peak-time techno meets Jersey club in M4tt’s ‘Back It Up’, while infamous K-pop bootlegger intoxxy shows he can hold his own as a producer in ‘TAEKKYON’, a blistering track that weaves in influences from gqom and ballroom. JAMES GUI
V/A
‘TT 10: A Place Outside Time’ [TT]
“Artistry has no bounds and each approach is valid,” TT label manager Maya Vika told DJ Mag this year. It’s an ethos that echoes across the imprint, which since 2014, has championed musicians uninterested in adhering to any one convention or sound. You can sense this in its 10th anniversary comp, which takes in club deconstructions, industrial dembow and ambient amapiano alongside lo-fi folk and experimental bedroom pop. It’s a testament to TT’s celebration of art for art’s sake, and the DIY communities that thrive on that principle. EOIN MURRAY
V/A
‘Vint’ [Lapsus Records]
With exclusive contributions from the likes of Kode9, Simo Cell, Suzanne Ciani and Plaid, ‘VINT’ celebrates 20 years of releases, parties and broadcasts from Barcelona IDM powerhouse Lapsus Records. It’s a record that runs from the sublime to the incredibly silly, moving from Marina Herlop’s intricate piano manipulations and the scenic soundscapes of Lord of the Isles, to big breaks and Amol Rajan samples of Wordcolour, and CLARAGUILAR’s whirling, distorted carnival organs. A giddy tribute to one of Spain’s most forward-thinking labels. OLIVIA CHEVES
V/A
‘Virtual Dreams II: Ambient Explorations In The House & Techno Age, Japan 1993-1999’ [Music From Memory]
Music From Memory’s affinity for rediscovering masterpieces from all across the world continues with this deep dive into Japanese experimentation. A by-product of the club culture slowly emerging in the ’90s, this strain of ambient electronic music was originally dubbed “listening techno”. The second ‘Virtual Dreams’ has weaved together music from the most definitive labels from that era, including Sublime, Transonic, Syzgy and Frogman Records, creating a reflective journey through timeless Japanese ambient music. ANNA WALL
Settle Down
‘Voyage’ [Settle Down]
Settle Down’s ode to the humble rave tape is nostalgia done right. Eight original pieces of music offer plenty of piano stabs, rolling breakbeats, chipmunk vocals and turns to the darkside, before shifting gears to full-blown jungle for a sprint finish. Interspersed with hype and crowd direction from an MC, and presented as a full mixtape, it feels incredibly authentic, but still has the crisp edges and production oomph required to cut it in the modern listening environment. BEN HINDLE
V/A
‘We Will Stay Here: Music for Palestine’ [Love Boat Records]
Deriving its title from the doctors of al-Awdah Hospital in Gaza, who sang in the face of bomb threats and continued to provide care to their patients under the most unimaginable conditions, this compilation paid tribute to their resilience across 14 cuts of experimental electronic music. With all proceeds going toward Medical Aid For Palestinians, the release arrived in May with contributions from the likes of Bawrut, Assyouti, Holy Tongue and Not Waving. An essential release for an essential cause. EOIN MURRAY