Following on from this column's ground breaking and probable end of year journalism award winning looks at the state of labels and albums we thought we'd further push back the boundaries of EDM reportage with a thorough, Hegelian analysis of the Beatport Top 100.

Realising that this might actually involve listening to that dross though soon put an end to that plan and so in a marked break from tradition here instead is a breezy run through of some recent, and forthcoming, releases from the wonderful world of electronic music that you should possibly consider adding to your collection.

Anyway without further ado here we go and first up we have the return of Mark Pritchard to Warp Records, an obvious choice perhaps but that doesn't make it any less essential. One of the most consistently on point producers of the past 25 years, seemingly capable of turning his hand to any style, this Lock Off EP, one of the first I can think of released under his own name, picks up where his Africa Hitech project left, off exploring the cracks between genres like jungle, dancehall and footwork. Packed full of parping bass, taut jungle rhythms, rave stabs and sirens and a guest appearance from the mighty Ragga Twins it's noisy, fun and just the kind of thing to make you forget who you are for a second and do ridiculous things like make gun fingers whilst stay your desk.

Where Mark Pritchard seems to revel in the bad boy, siren blasting ragga tropes that made so much early jungle so exciting, Om Unit's debut release for seminal Drum'n'Bass label Metalheadz heads off into spacier territory. D'n'B at its atmospheric, cinematic best this three track EP recalls the likes of T-Power's Atomic Dog records, music that despite its frenetic tempo seems to somehow drift along like a cold world in orbit around a dying star.

Forgive me if I get a little rheumy eyed here but it's been a while since I've been this excited about drum'n'bass, and extra bonus nostalgia points go to Mr Unit for the inclusion of a sample from Peter Gabriel's Last Temptation of Christ soundtrack, previously used to stunning effect on Amorphous Androgynous' debut album. Still if that all makes this sound like just an exercise in retromania just remember that at its best drum'n'bass still sounds like it's being transmitted to us from the year 2245.

Another artist who has seemingly been having a grand old time of late plundering the sounds and styles of '90s pirate radio is Paul Woolford under his Special Request guise. After a series of rapturously received EPs, Paul steps up to the (dub)plate to deliver the first Special Request album, Soul Music for Fabric's Houndstooth label. Flitting between Relief style Chicago House, Hardcore listened to on a badly tuned radio, Jump Up Jungle, UK Garage and more, it's a rough and ready reminder of just how incredibly good club music can be when it's taken in its raw form. With each track sounding like the record's been given a generous dusting of warehouse sweat and grime this is a true celebration of British club culture and if your idea of bottle service in a club means buying a round of Red Stripe then this is the record for you.

Scottish producer Alex Smoke's been doing the rounds for a few years now and in that time has released his fair share of essential releases, not least 2006's sublime album Paradolia on Soma and his hypnotic remix of Radio 4's 'Transmission' that has spun me out on more than a few occasions. Anyway after a bit of a break he's back on the recently revitalised R&S Records and it would appear that his new home suits him as new single 'Dust' picks up nicely from where he left off.

Rattling post-everything rhythms, a robotic stream of consciousness and the occasional distressed electronic noise might not sound like much, but as is often the case with the best techno the sum is clearly greater than the parts. On the flip Tesela whose own Hackney Parrot got the Special Request treatment earlier in this feature picks up the baton, adds a load of filthy breakbeats and hardcore sonics to the equation resulting in a dense, paranoid sounding slab of mechanically reclaimed filth. Wonderful really.

Over the past couple of year's Will Saul's AUS label has established itself as one of the most interesting new house labels around, ready to push up against the boundaries of the genre's often choking conventions whilst never losing sight of the dancefloor. The latest release, Count On Me from Swiss techno veteran Deetron might play things a little straighter but it's still about as good a house tune as you could ask for at the moment, vocal snippets that raise the hairs on the back of your next and a base line that could raise the dead.

For the best part of 25 years if you've needed a remix done, you've got any sense and you've got the money then Andrew Weatherall should have been at the top of your speed dial list. So you can imagine that being asked to fiddle with his parts is both a nerve wracking experience and the time to bring your A-game to the party. Anyway that's what the likes of Ivan Smagghe, Justin Robertson, Hardway Bros and more have been asked to do on The Asphodells Remixed and by and large they've all delivered.

The Asphodells' (Weatherall alongside Timothy J. Fairplay) debut album Ruled By Passion, Destroyed By Lust released earlier this year was an exemplary mix of dub, psyche, disco, new wave and more, and whilst this remix album plays a straighter bat with a much stronger emphasis on the more cosmic disco aspects it's still an invigorating listen with special mention going to Daniel Avery, whose mix seems to channel The Horror's beautiful 'Still Life' and Richard Sen's arabesque rework.

If you're not already a fully paid up member of the DMX Krew fan club then stop what you're doing, empty your piggy bank and go immerse your self in the man's back catalogue. Probably one of the best club DJs you'll ever get to see, Ed DMX has made a career flitting between pitch perfect pop, booty bass, detroit techno, electro boogie and much more besides, honestly if I had my way there would be a statue of his playing an 808 erected on the 4th plinth in Trafalgar Square.

Anyway unless you're particularly slow on the uptake the general gist here is that pretty much everything he touches is solid gold and worth buying, and his latest EP Micro Life, on Abstract Forms is no different. For this release he's back representing pure old school electro, and as ever it's simple, clean, utterly effective and would have sounded perfect on John Craven's Newsround soundtracking a story about the latest craze of breakdancing.

On a similar tip, Abyssal Zone, the new EP from French Producer Djedjotronic takes its cues from the original electro sounds of the 80s, mixed in with a suggestion of early Detroit Techno, hardcore bass and a hint of John Carpenter'esque suspense. The result is the kind of music that will make sure you never feel comfortable swimming in the sea ever again, safe in the knowledge that deep beneath your feet primordial evil is just floating around eating lobsters and waiting for the right moment to strike. Whether that's exactly the kind of thoughts you want running through your head whilst dancing in a club on a Saturday night is up for discussion but it certainly paints a pretty, terrifying, picture.

More often than not Russell Haswell's productions sound like he's engaged in some esoteric attempt to kill sound itself, often resulting in an interesting if not particularly enjoyable experience. Teaming up with techno producer Regis though seems to have tempered his instincts somewhat though and this new release as Concrete Fence on PAN whilst unlikely to make it onto the next Kitsune compilation is dare I say it an enjoyable listen with Haswll's knack for making horrible noises bent into shape by the more dancefloor friendly drums. Not sure I could take a whole night of it any more but for a quick reminder of just how out there techno can get whilst still maintaining a sense of purpose it does an admirable job.

Finally if most of the releases mentioned so far err towards the, well let's say moodier side of electronic music, let's finish on something uplifting for a change and the new single by London producer Kiwi out on Need Want fills that remit nicely. The original featuring the vocals of Amy Skippings is a lovely slice of end of summer vocal house, but those in need of an instant pick me up should head to Belgian producer Compuphonic's remix which comes underpinned by one of those bass lines that even just for a few minutes make the world seem like a slightly more tolerable place.