The first few weeks of any year can are a quiet time in the world of new releases. Not a bad time to reflect on the year passed and equally, to what awaits us in the next 12 months.

Everyone likes to second guess what will take precedence in the record bags and hard-drives of DJs as well as that of the general listener. One major pointer at the moment to what’s hot in the “underground” is the peerless BLOC Weekend.

Now in its third year, the 2009 line-up is certainly broader and more eclectic than before – with Italo a new addition. Apart from featuring two of the most unlikely Italo DJs in the world – DJ Bennetti (real name William Bennet of proto-industrialists Whitehouse) and leftfield artist Richard Haswell – the Cocadisco crew are also playing host to new kids on the block Heartbreak, whose album ‘Lies’ on Lex from last year has divided people somewhat. Is it a studied, archly-ironic compilation of influences or the real deal? I’ve enjoyed some of both members’ solo stuff, but with lyrical references to Molly Ringwald and Mr T and the over-the-top, put-on-for-show vocals the whole thing rubs up me the wrong way.

Apart from I-F – whose ‘Mixed Up In The Hague’ mix from 1999 was the main catalyst for the genre’s revival, Cocadisco/Bloc have made a glaring line-up emission: No Dutch. It’s a strange move, as, for the past 10 years it’s been mostly Dutch producers/labels who have updated the sound successfully. It’s not like these guys are lying dormant either. Most notable of late is Mr Pauli, who has a hand in two new twelves; ‘Le Crunch’ on new-ish Dutch label Moustache Records and a collaboration with Matzo (more commonly known as DJ Technician) called ‘G.D.C.’ on the English imprint Cyber Dance.

Both 12” alternate between dancefloor bangers and less insistent efforts. The title track off the Moustache release is the most accessible, lead by a catchy synth line that’s ripe for a dancefloor singalong. The usually reliable Alden Tyrell’s remix exchanges synthesized keys for an unsuccessful guitar riff - the additional handclaps and spaced out sounds in the background never sitting comfortably enough. While no one wants to see artists sitting on their laurels and churning out identi-kit remixes, it’s still something of a failure, especially coming from someone with such an excellent back catalogue. The highlight is on the flipside though; ‘Metalbass’ is spookier, aggressive and one that may take a little bit more time to get adjusted to, but is ultimately more rewarding. The Drexciyan downtempo number ‘Der Alta’ closes the release.

Pauli’s second effort - with Technician/Matzo - kicks off with ‘Kommaah!’, a snail-paced effort with reverbed vocals that is the most ‘Italo’ of the lot. Both are, in general, highly satisfying releases. If this electronic disco/italo sound is as supposedly popular as the likes of [The Guardian](http://www.guardian.co.uk/music/musicblog/2008/sep/01/sceneandhearditalodisco) and some London hipsters with moustaches and leather pants would lead us to believe, Mr Pauli deserves some of the limelight as what he does is far more genuine that most. And his live shows are a riot too.

Italo may have been perceived as simple, disposable pop music in the first place but its naïve, cheap and ultimately influential version of disco warrants more respect than some fashionistas are willing to give it. Alexander Robotnick once said that all producers of his ilk were trying to do was make disco records - but they couldn’t afford to hire musicians for the studio so instead turned to synthesizers.

Fabric’s move to land Omar S for their next mix instalment is an interesting one. The self-styled ‘Grandson of Detroit Techno’ is - in his usual two fingers to everyone way - putting only his own productions on the mix. Not the first time someone has done this, but it could be the most interesting, as it could see Alex move overground. The fact that his first full release outside of his own FXHE imprint; ‘Blown Valvetrane’ has just dropped won’t hurt that cause either.

Not surprisingly, it’s out on former collaborator Theo Parrish’s Sound Signature label. Another smart move, both commercially and publicity-wise. Punters who’ve been made aware of AOS through his last two releases may be taken aback by the three-tracker, but longtime fans will be satisfied: it’s the return of the raw, Smith at his most uncompromising in quite a while; the heavier and trackier Omar S that was more prevalent in his earlier releases. The lead cut is a rasping, noisy analogue work out, augmented by a deceptively simple one-note melody, a classic example of how his music can creep in and, without thinking, draw you back into putting it on again and again.

He keeps it up with the darker ‘Busaru Beats’, while ‘Deep Valve’, which borrows heavily from old school Chicago, is a retreat into more relaxed territory with another simple synth washing over the track, just enough to suck you back into his weird world.

Detroit is, obviously, better-known for techno, but this releases like this show the debt a lot of its best music owes to house. These days, it feels like there’s more house coming from tha D than electro, techno or ghetto: Omar, Theo and Rick Wade have been pushing it for years, and now newer names like Keith Worthy and Patrice Scott are coming through.

Scott’s latest ‘Far Away’ on his own Sistrum Recordings is another deep, string-laden gem - house but Detroit too, with the percussion leaning towards techno roots. His records always slot nicely into either a house or deep techno bag, and a recent (criminally under-attended) DJ set I witnessed in Dublin reflected what he does on record too. So it looks like this year is going to be Omar’s - let’s hope we won’t have to wait as long for Mr Scott to cross over as well.