Review: The Abstract Eye aka Gifted & Blessed always makes electrifying music that brims and bristles with energy. It is dense and textural and requires close attention to unpack and get lost in but that effort is always more than repaid. This is another brilliantly heavy outing, a first on Technoindigenous, that makes great use of one of the most legendary bits of gear in any studio - the TR-909, Here the artist finds new ways to make it sing with acid-laced house, clattering percussion and cosmic synth work that will rewire your brain.
Review: Lempuyang is a label you will know and respect for its high quality stream of immersive dub techno and now the man behind it, Alastair Kelly, debuts a new label with none other than revered UK techno mainstay Ibrahim Alfa Jnr. He opens up with 'Component A' which is a moody melange of slow, broken dub beats and fizzing synths. There is further experimentation on 'Untitled B2 1' which pairs a churning dub rhythm with naive and innocent melodies and lots of li-fi static. 'Entangled' ups the ante with the suggestion of a fast paced rhythm through a skeletal groove and the flip brings broken beat dub weight, meaning and percussive bass with a 2-step swagger then deep introspection on the closer. A classy EP that suggests this label is one well worth watching.
Review: Given that Ricardo Villalobos was one of a handful of guest producers who featured on Oren Ambarchi's recent Hubris album - a krautrock-influenced minimalist techno exploration that also boasted contributions from Jim O'Rourke and Mark Fell, amongst others - it seems fitting that he's been roped in to provide two new remixes. The Chilean's contribution to the album was largely rhythm-based, and his two lengthy Variations - each stretched across one side of wax - promote undulating, heads-down dancefloor hypnotism above all else. Naturally, his drum programming and use of subtle stylistic shifts is as on-point as ever, with Ambarchi's original textures being manipulated into mind-altering new shapes.
Review: After a brief hiatus, Synapsis Records makes a triumphant return with a standout 12" release from Iranian artist Siamak Amidi, complemented by reinterpretations from hm505. Synapsis-019, Crack A Love Ball, offers a sublime mix of minimalism and complexity, showcasing Amidi's deft touch for immersive sound design on the A-side. His original tracks, 'Crack A Love Ball' and 'Mess with You', are masterclasses in subtle intricacy, blending rich percussion with understated grooves. Meanwhile, the B-side sees hm505's reinterpretations take the originals in new directions, layering lush melodies and swirling arpeggios that pull at the heartstrings. Synapsis-019 is a sonic journey that demonstrates both Amidi's thoughtful craftsmanship and hm505's ability to transform tracks into emotive experiences.
Review: Inimeg Records label boss and general underground don Joey Anderson has always operated on the fringes of the deepest house and techno sounds. The New Jersey mainstay returns now with the Vanish EP on Obia Records while owner Wendel Sield also pops up with one tune. Anderson's trio ranges from the dusty, smoky basement dub of 'Vanish' to the ticking and glitchy minimal menace of 'Masked Ones' via the intense synth dystopia of 'Escape'. Sield's 'Cultivate' is a smeared, spacious cut with meandering pads and prickly percussion that zones you out for days.
Review: Dutch label Brew returns with more moody techno that is both deep yet impactful. It's Robert Bergman at the helm and '3 AM' is his opening gambit. It has ghostly voices shimmering across the beats with a menacing low end, rugged bassline and scaring percussive sounds. '#5' is another fresh sound with great sound designs and alluring rhythms and last of all is 'Drum Trax' which is a third and final blend of nostalgic and futuristic house tropes for heady basements.
Review: Third part of the compilation celebrating the tenth anniversary of the Milanese record shop. This collection is entirely composed of previously unreleased music, exclusively produced for the occasion by many artists of great relevance in the worldwide music scene, who supported the store over the last ten years. The artists who produced the music for this compilation are Egyptian Lover, Ellen Allien, Thomas Brinkmann, Neil Landstrumm, JD Twitch, Matias Aguayo, San Proper, Tolouse Low Trax, Jay Glass Dubs, Dj Marcelle, Jorge Velez, Tamburi Neri, Fabrizio Mammarella, Heith, Itinerant Dubs, Timeslip89, Kreggo and Intersezioni Ensemble. The entire work is composed of 4 x 12", plus a bonus EP.
Review: TV Hill Records starts things off rough and curiosity-rousing, with a technical itch from OG AG (Andrew Grant) in collaboration with fellow producer Dimneonsum. A mid-paced deep techno calculator, 'What's Up Everybody' pares back any semblance of emotion for pure robotic urgency, with every sound moving in juddering clockwork lockstep in an abstracted world of pure, preservative mathematic topology. Opener 'San Fran' pits nervous FM loops against an equally anxious Shepard-tonal riser, while calmer moments such as the beatless 'Drakey' still disquiet with their eerie glassiness. One for the bleepy heads, the only humanistic element is the revelatory vocal sample on 'Found Out'.
Review: If new talent is your thing, Shall Not Fade has long been a label to watch. While the Bristol-based imprint does sign material from established artists, it consistently promotes music from new or early career producers too. Daughters of Frank, a pair of sisters from London, are the latest rising stars to make their bow on the label. Their debut EP is genuinely impressive, too, delivering a mix of hallucinatory, spaced-out liquid drum and bass ('A Club Serenade'), stripped-back and fiendishly sub-heavy workouts seemingly informed by the skeletal construction and dub-wise weight of bleep techno (EP highlight 'Tracksuit'), giddily saucer-eyed, early morning anthems-in-waiting (the sunrise special that is 'Velvet'), and deep, spaced-out two-step garage (the heady and intoxicating 'Lust 2 Luv').
Review: The low-key but high-class Acquit label is back with some more brilliance from DX 9 press dup to nice translucent orange vinyl. 'Beans' (Owen Ni remix) opens up with elastic deep house beats and heady pad swirls. In original form the cut is a weight dub house pumper and elsewhere is the quick-stepping deep house of 'Galaxy', stripped back and scruffy dub house of 'Greed' and the cosmic trip that is 'Orange' with its swirling synth clouds and wispy lead lines over a deep, meaningful bassline. This is hi-tek soul with a timeless edge.
Review: REPRESS ALERT!: Margaret Dygas may be based in Berlin but her unique sound can't be tied down to any one city or scene, as she proves on her latest 12" across three tracks for the consistently exciting Half Baked label. Not that there's anything half done here, of course, with A-side tune 'Butterfly Effect' a prime slice of groovy. resonant techno that's understated and restrained enough to gain comparisons to Jaydee's 'Plastic Dreams' classic. 'CC Is 33' is warmer, with nicely slidy, jazzy organ chords and itchy technofunk rhythms, with the most minimal of the three tracks, the static-infused, atmospheric 'Subliminal 20A7', coming last but by no means least. A great showcase for a great, original talent.
Review: The 110th release from Kompakt Extra comes from Extrawelt, a long-serving electronic band from Hamburg that has previously impressed via albums and singles on Traum Schallplatten, Border Community, Darkroom Dubs and Cocoon Recordings. They naturally hit the ground running with "Pink Panzer", a bustling affair that mixes live drum breakbeats and tough machine percussion with moody, booming bass, creepy strings and evocative, ever-building tech-house electronics. Flipside "Argonaut" is an altogether sleazier and heavier affair full of thrusting, non-stop distorted bass, redlined post-electro drums and all manner of mind-mangling electronic effects. It's effectively the Yang to the A-side's Ying and, like its' predecessor, very good indeed.
Review: Fango lives in Venice in the middle of nowhere and works in a home studio when not practicing with his live band of the same name. He has been serving up his own take on techno for over a decade now and that vast majority of it has come on Degustibus Music.This is his first EP for a while and as ever it is well designed and atmospheric. All three cuts will work their magic on floors filled with serious techno heads and once more this is Fango in fine form.
Review: ** Camera's ready. Prepare for the Repress ** Curtis Jones is never one to rest on his laurels, as his staggering back catalogues as Green Velvet and Cajmere can attest but such is the force of his personality that a new release still feels like an event. "Bigger Than Prince" capitalises on Jones' knack for a vocal that lambasts the less earnest quirks of the dance music industry, while creating the hook to make the track a bomb in the same instance. Production-wise, there's a measured strut to the track with some choice growling bass synths and an underlying disco flavour that suits Jones just fine. On the remix front, Circus turn to The Martinez Brothers to hammer out a rolling, percussion focused version perfect for big room mixing, while Hot Since 82 turn out a similar line in boompty peak time damage.
Review: Swiss label Creaked has decided to give over a full 12" to remixes of HRDVISION's 'Captivated Heart' and the results are varied and impressive. It is the cultured electronica of Nathan Fake that kicks things off with some widescreen synth drones, She Spells Doom then brings some twitchy tech house and Shanx goes for something laced with alien effects, gurgling synths and swampy beats. Efemme brings some acid laced minimal funk and Sinistarr brings compelling broken rhythms and icy urban metropolis vibes. HRDVISION himself also steps up with a Hrdvsiovsiivosvsiosvin remix to close out in mad fashion.
Review: This is the thirrd release by the amazing Italian producer Ivan Iacobucci for the Perlon label. The previous two were so well received, this next one was destined to come out sooner than later. Perlon fans know what to expect from their label of choice and Ivan delivers the goods. Those addictively quirky and fonky jackin' minimal techno jams. The title track is that and then some! We especially like the sexy jam 'Waiting For My Love'. Expect the unexpected when you flip over the record as 'Close the Door' is a full-on acid banger that combines high energy techno into what sounds like a video game soundtrack theme song! Closing things out is the wild sounding 'Fear & Madness in the Desert'. We are smiling at the thought of someone playing out these corkers to audience. Expect to see WTF typefaces everywhere!
Review: Infinity Plus One channels the murky heat of 90s Detroit into four cuts that throb with machine soul and analogue bite. Based in the UK, the producer debuts with a raw but focused blend of electro, house and technoihis nod to the Motor City filtered through a distinctively UK lens. 'Innocent Beginnings' pairs chunky kicks with haunted synth washes, laying the groundwork with a bass-heavy strut that feels both grounded and widescreen. 'Dusk And Darkness' leans darker, stitching 808s and breaks into a rolling, rave-adjacent groove, all tension and propulsion. On the flip, 'Stand For Love' dips into classic deep house mode, slowing the pace for a moment of emotional clarityigentle pads circling a tender vocal loop. Closer 'Ubiquity' rides a twisting bassline into atmospheric club gear, its big stabs and lurking low-end pulling dancers into a heady zone. A full-spectrum debut that honours the roots but refuses to settle in them, this is warehouse music made with reverenceiand a sense of forward motion.
Review: Using the Turkish psychedelic project Insanlar as a jump off point, Honest Jon's have enlisted Ricardo Villalobos to turn out one of his grandiose remix projects that gels so naturally with more exotic sound sources. The original of "Kime Ne" is already an enchanting, Moog-infused groover rich with traditional vocals, and then Mr Villalobos locks the ingredients in for a typically cosmic ride into stripped and hypnotic house territory, letting the lutes intertwine with dusty reams of percussion using that alchemists touch that could only come the man himself. The remix spreads itself over two sides of wax, leaving one side of the double pack free for a fetching etching as well.
Review: Anton Kubikov is a regular presence in the underground and now he makes his debut on equally long-established RAWAX. 'Jet Jet' opens up with some super seductive and silky deep house with deft and soulful chords over nimble beats. 'Outback Deep' is another hum sound this time with slower beats and dubbed-out bass. '3 Magic Words' picks up the pace with a soft acid line lashing about the arrangement with humid chords for company. 'Mister R' is a hip-hop swinger that oozes late-night cool and rounds out a sophisticated EP.
Hold My Hand (Octo Octa Sapphic Trails In Bloom mix) (7:54)
Sing The Blues (6:17)
Hold My Hand (6:32)
Review: Akua Grant's outings as Lady Blacktronika are always worth checking, and her first full outing on Peggy Gou's Gudu label is no different. 'Baby I Got It' is full-on aural madness - a bombastic blend of beefy, redlined house drums, ghostly chords, pitched-up vocal samples and discordant minor key melodies - while 'Sing The Blues' is a deliciously drowsy chunk of wayward, dub-flecked deep house that's as beautiful as it is trippy. Best of all though is the locked-in deep house hypnotism of 'Hold My Hand', which features some superbly soulful vocal samples, metronomic bass and spacey electronic textures. Octa Octa provides a fine remix of that cut, too, re-imaging it as a stomping slab of lo-fi, funk-fuelled breakbeat house headiness.
Review: Lawrence's Epiphany Remixes, a release from the German record label Giegling, presents four distinct interpretations of the title track. Each remixer brings a unique approach to the original piece, resulting in a diverse and captivating soundscape. Zoe Polanski's version transforms the track into a crystallized melody, creating a cold yet beautiful atmosphere. Lowtec's remix explores deep techno, delivering a smooth and dreamy ambiance with a touch of sadness. M Pittman Ladder's interpretation adds a gritty, chunky bassline, while Tobias' remix elevates the tempo, creating a pulsating and mechanical percussion elements. These remixes showcase the versatility of Lawrence's original composition, demonstrating how different artists can reinterpret and reshape it to create new and engaging experiences.
Review: Contemporary tastemakers Geilgling return with a set of remixes of material from Leafar Legov's recent album, Mirror. First up it is German minimal maestro Isolee who flips 'Fade' into some of his signature sounds - smeared synths and abstract designs all weave together over a minimal beat to make for something seductive and late night. Polish loop master Jan Jelinek then flips 'Fade' into a slow motion shuffle with bright, celestial shards of melodic light and downbeat, melancholic vocals over a chugging beat. Last of all is a mix of 'Jing' that is all broken loops, chopped vocal fragments and hallucinogenic synths.
Review: One year after dropping back in 2023, Jennifer Loveless's bonafide anthem 'Pleasure' is back in the form of three thrilling reworks and a dub mix which expand its appeal into new realms. Parisian maestro Bambounou kicks things off with a jackin' remix bursting with energy while Lisbon-based veteran and Ibiza favourite tINI follows and offers up a bass-heavy electro-inspired rendition nodding to old-school vibes. Jennifer Loveless and label heads Sleep D close the EP with an 'Indubm-3ntal mix' which is a hypnotic, dubbed-out techno journey layered with deep and atmospheric textures. Together, these fresh interpretations are primed to ignite dancefloors once more.
Review: Weirdo minimal tech soul, anyone? Any takers should be directed towards this oddball release from Melchior Productions and Paul Walter. Two tracks of serious strangeness: timestretched vocals and repetitious yeahs blossom between the beat-thickets of Melchior's 'Yeah X 3', while many more percussive hits and cuts and clicks and pops and booms come courtesy of Walter's B-side, 'Xvive'. It's an impressive first foray for Maria Newyen's new imprint Scious; let's hope future 12"s stay just as weird.
Review: Berlin by way of Los Angeles' Avenue 66 recently served up the latest album by enigmatic artist Moire who has appeared on esteemed imprints such as Hypercolour, Ghostly International, Werk Discs and Ninja Tune. The Circuitry LP was a diverse affair, and the array of remixers on this EP reflects its style of eclecticism. Whether it's the legendary Herbert's deep and melancholic dub of 'Circuit 15' or Tolouse Low Trax's woozy rendition of 'Circuit 07' on the first side, to the typically dusty twilight vibes of Lowtec's remix of 'Circuit 04' and Dial co-head Lawrence's understated late-night perspective of 'Circuit 18' - it certainly does make a complementary addendum to the album.
Review: It's been a long time since we heard from Pangaea, one of the three famous faces who made up the original Leeds label come ubiquitous DJ's DJ's DJ imprint - Hessle Audio. Though perhaps less appreciated than his contemporaries Ben UFO and Pearson Sound, now's his time to shine again: Changing Channels is his second ever album, following up 2016's In Drum Play (which for all its quality, rough, juddering techno experiments, will always line the shelves of many a budding selector). Like its predecessor, oddball bassy techno is here Pangaea's preferred mode, whether reflected in the sassy femme vocal cutups of 'Installation' or the spitting basses of 'Squid'. This is one of two vinyl 12"s over which the album is spread; an effort to enhance its playability for DJs.
The Parallax Corporation - "Shadow Figures" (6:11)
Ron Morelli - "Hot On Wheels" (5:59)
Robert Bergman - "Acid Tapes 88" (9:02)
Redray - "Early Swang" (4:41)
Review: Heat Recordings presents a special release marking the comeback of The Parallax Corporation (I-F & Intergalactic Gary) after a 20-year hiatus, alongside works by Ron Morelli, Robert Bergman, and Redray. This compilation features four tried and tested cuts from real-life gatherings, assembled onto a single disc for maximum impact. On Side-1, The Parallax Corporation's 'Shadow Figures' - A catchy and unusual blend of house and techno, sure to capture attention with its creative clash of sounds. Ron Morelli's 'Hot On Wheels' is afuturistic romp featuring unusual sounds that propel the track into the future For Side-2, Robert Bergman's 'Acid Tapes 88' is a deep acid cut, heady and raw, paying homage to the underground sound of house and techno. Lastly, Redray's 'Early Swang' harnessing Detroit and Chicago's legacy in all their glory. This has us flashbacking to our warehouse days, offering a nostalgic yet fresh take on the genre. Heat05 is as strong as it is diverse, offering essential gear for those exploring the depths of minimal, experimental and acid techno.
Review: RBCHMBRS pushes his MPC - if that is the tool he used for this - to the max with a heavy mix of ramshackle loops, samples, busted drums and wonky rhythms on this great new EP for 1432 R US. It is steeped in hip-hop style for the way the grooves are so loosely assembled, but with a more rooted four-four house vibe. 'OD' is a deep and dusty opener for the back room, 'Eloise' brings hi tek funk and intense soul with Motor City overtones and 'Toe The Line' is a humid deep house cut that Theo Parrish or Moodymann might admire. 'Take Me' rounds out with twanging bass riffs and smeared chords that ooze heartfelt warmth.
Review: UK DJ and producer Justin Robertson is back with his latest 12" record 'Deadstock 33s', the fourth release on the up-and-coming Pamela Records label. This record is filled with groovy little tracks that blend various genres into one. 'In Minus Shadows' has a nice psychedelic campfire funk to it, with the dub-like 'Cup Of Silence' and the electro sounds of 'Of Ghosts' completing the package. Eclectic and unique dance music - very cool tunes here.
Review: Houston's Seven Davis Jr continues his musical explorations via his Secret Angles imprint, serving three floor-focused cuts on 'Is This The Apocalypse'. The long-serving US producer, vocalist and DJ is unafraid of experimentation, and his latest offering delivers a set of forward-facing house and techno hybrids. Stripped, straight to the point, simultaneously familiar and fresh i the club room is very much the focus here. The energetic opener 'I Should Be In Japan' arrives with semi-sung vocals echoing over sleazy bass and fierce four-four rhythms, before 'PBS (Party & Bullshit)' ups the tempo with jacking drums driving spoken-word sass over a stripped-back topography. Finally, the title track powers over swung house drums, with its magnetic bass hook and looped samples providing the bed for paranoid bleeps and call-to-action vocals.
Review: 'Lords Of Miami' is a fantastic name for this new one from Domesticated, a label run by one of Berlin's best electro aficionados, Robyrt Hecht. Sshadess, The Coomers, Girlcop and Emscho Shoshe each contribute original cuts ranging from the janky to the smooth, with choice bits like 'Carbonara' remaining unpretentious and not-too-produced, yet also peppery on the glitches. Shoshe's 'Give Up' lends an experiment to vocal booty house too, adding an extra creep factor to the genre with freq-scooping phasers on the sample.
Review: Steve O'Sullivan's Mosaic label is back with a second volume of its dubs series, this time on nice yellow vinyl with Sub Basics and Fletcher given one side each to shine. Sub Basics goes first with 'Mediterranean', a lovely liquid dub with bottomless depths and perfectly smooth, frictionless drums. Lovely soft melodies drift in and out as the echoing hits and icy hi-hats help oil this most heady of grooves. On the flip, Fletcher offers up 'Sludge' which is a little more tense and menacing, with darker bass and more texture as well as distant groaning pads that keep you guessing and on edge.
Review: Ben Bohmer's upcoming album Bloom marks a significant milestone in his musical journey, offering a reset from the pressures of his previous successes. The album, shows his growth as an artist, emphasising spontaneity and a return to his improvisational roots. The lead single, 'Best Life,' featuring Jonah, explores themes of life's fleeting nature and the importance of cherishing each moment. 'Best Life also represents a sonic departure for Bohmer, signaling his intention to break free from predefined musical boundaries. The album promises a diverse range of styles and tempos, featuring collaborations with artists like Lykke Li, Oh Wonder and Enfant Sauvage. Overall, Bloom appears to be a deeply personal and musically adventurous project that reflects Bohmer's evolution as a musician.
Ronny Nyheim & DJ Sotofett - "Piezoelectric" (7:00)
LA 2000 & DJ Sotofett - "Dub Toner" (dub 1) (5:58)
DJ Sotofett - "My Spirit Is In Techno Music" (7:24)
DJ Sotofett - "Tommer Bliss" (feat LNS) (5:43)
LA 2000 - "Safety" (DJ Sotofett dubmix) (6:22)
LNS & DJ Sotofett - "909 Nite Stepper" (6:58)
Review: DJ Sotofett returns with a double 12" packed with eight hard-hitting, underground techno tracks. Featuring frequent collaborators LNS, L.A. 2000, Ronny Nyheim, and Zarate_Fix, this release is a direct nod to the no-nonsense techno nights at Berlin's iconic Tresor club, where Sotofett holds residency. Each track is crafted with pure dancefloor energy in mind, moving through dub-driven techno, acidic overtones, and percussive basslines, all delivered with a raw, uncompromising edge. WANIA mk1 is a masterclass in DJ-ready versatility, perfect for those who love their techno stripped back and potent. Standout cuts include the bombastic, percussion-heavy Preparation and the 909-vocoder-fuelled My Spirit Is In Techno Music, both of which exemplify the release's dedication to the underground essence of the genre. With alternative mixes from WANIA mk2 making an appearance, the album offers both continuity and innovation, keeping true techno fans hooked from start to finish. Sotofett's attention to detail in programming, mixing, and mastering is evident throughout, making this a must-have for DJs and clubbers who live and breathe the core of real, unfiltered techno music. WANIA mk1 isn't just an album; it's a statement for those who value authenticity in their club experience.
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