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Review: Craigie Knowes is a weird and wonderful leftfield disco label based in Glasgow. How weird you ask? It's pretty out-there, but then all the best music has nearly always been so, and that's fine by us. This various artists EP, Knowes Universal Broadcast, features five tracks, the shortest of which is seven minutes long. That would be 'Fade Away' by Baltra, a lo-fi distorted acid jacker, Highfield Casuals deliver the dreamy and melancholic 'Highfield Daze', whilst Natureboy Gold rocks it harder with the slammin' Fairlight/303 orgy, 'Prozac Test'. Lastly Stephen Simpson delivers 'Qaua', a heavily percussive, sub aquatic groove machine. Review: Haider is the brains behind London label Breaker Breaker, and so far he has been happy to release material by producers like Ross From Friends and Tokyo's RGL.

That's all set to change this year as Haider himself steps from the shadows to deliver two EPs and then an album. Love is a stunning debut release: it starts with the dusty beats and murky bass of 'Dreams of U', with the arrangement morphing to include hushed synths and rattling percussion. 'Retrofuturist' is even more impressive: over a stepping arrangement, the label boss calls to mind classic Detroit techno and electro as warm bass tones are intermingled with evocative, tingling melodies. Rounding off this exemplary release is a more visceral track, the grainy acid of 'Fukouttahere', but all three tracks mean that Haider's album is sure to be one of this year's highlights. Review: Every once in a while, the underground electro sound finds its way into electronic music's mainstream. The last time that this happened to a significant degree was during the late '90s and early '00s, with electroclash artists like Tiga and Fischerspooner representing its most mainstream iteration. No one could ever suggest that Helena Hauff is on the same level as these two acts, but she does provide modern electro with a face and an identity.

Tellingly, on Desires, she neatly encapsulates everything that that is great about this form, from the moody soundtrack of 'Silver Sand & Boxes Of Mould' to the rolling 808s and nightmarish synths of 'L'Homme Mort' and 'Tripartite Pact' to the higher-paced, tweaked electro funk of 'Funereal Morality' and 'Piece of Pleasure'. Review: Gifted Culture collective announce the second jam session of an announced trilogy. GMI Jam Venice comes from the filth and the mug of the abandoned ex-industrial area in the outskirts of Venice in northern Italy. There, Autre and Two Thou invade Hawaiian Chips' state of the art studio, where all together ride '70s synthesizer rarities and try to domesticate the monstrous Yamaha CS 80 synth. This jam, inspired by the post-industrial Venetian scenario, dives between the dreams of archetypal electronic music and reminiscences of psychedelic progressive bands, giving birth to two long journeys ready to gently carry the dancefloor into the outer space.

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Review: The seemingly unstoppable rise of Helena Hauff continues apace. After previously shining on Ninja Tune's Actress-helmed Werk Discs offshoot, the Hamburg-based DJ/producer has now graduated to the parent label. As usual, there's much to enjoy throughout, from the punchy drum machine percussion, tumbling synthesizer melodies and foreboding chords of opener 'Nothing Is What I Know' and thrillingly intense, end-of-days techno jam 'Do You Really Think Like That', to the lo-fi, intergalactic brilliance of closer 'Gift'. Perhaps most impressive, though, is 'Continuez Mon Enfant Vous Serez Traite En Consequence', a thrillingly wonky trip into dark, acid-fired electronica. In a word: essential.

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