Back catalogue: Techno (すべて)

Review: We all wants to travel without moving. Marco takes us into a modular (diy) dub techno atmosphere. 150 limited copies, hand-numbered/printed.

Review: The release of any new Gerard Hanson record is a cause for celebration, but we have to admit to being doubly excited about this one. It marks the long-serving producer's first solo Convextion release since 2016 and contains two killer cuts. The un-titled A-side is particularly impressive, with Hanson wrapping immersive, delay-laden electronics and sumptuous deep space chords around a bustling, dub-fired Motor City techno groove. Even by his standards, it's superb. Over on side B, he's back in atmospheric deep techno mode, offering up a poignant and melancholic affair that's as deep, spacey and emotional as anything he's ever done before. Given his track record, that's some accolade.

Review: Yan Cook steps away from his Cooked label with another hefty offering of fulsome techno, this time on his other regular label, Delsin. As always with this man, this is powerful peak time techno with great functionality but also plenty of form. Tolling kicks and wall-rattling chords come together in various different ways as he gets dancing on the bumpy 'Buddy' before 'Lemur' brings more serene and dubby vibes. 'Mirror Maze' is a mind-altering affair and 'Gambler' then layer sup fat synth undulations with smooth drums and vast wet clasp. Lovely stuff.

Review: Svedjebruk rolls out a 15th bit of well crafted and dubbed-out techno here. It's Eno Cosovic who is at the buttons and really impresses with what we guess might be a debut release. It is a warming dub with a dynamic bottom and plenty of emotional colours running through the grooves. 'Druga' has vocals drifting in and out next to broad synth smears, 'Upoznaj Me' has a more fizzing Detroit techno feel and 'Stvarno Nestvarno' is cavernous and heady tackle with taught synth pulses and a grainy groove. A Tobias Gullberg remix brings some Bluetrain-style dub swagger to what is a very tasteful EP.

Review: Fresh from bringing his brand of intergalactic electronic fusion to Nummer Music, Moonshoe Records regular Cousin (real name Jackson Fester) makes his bow on Naff. The Australian is in prime form throughout, offering up hard-to-pigeonhole blends of IDM, ambient techno and dub that were reportedly inspired by the expanses of bushland close to his home. He first explores the dubby end of IDM on creepy-but-beautiful opener 'Second Message', before joining the dots between energy-packed breakbeat, dub-fuelled techno and extra-percussive electronica on confirmed club cut 'Disting'. 'The River' sees the much-admired Aussie blur the boundaries between UK funky, dub and ambient techno, while 'Padda' is a picturesque and bubbly, eyes-closed excursion. Closing cut 'Ohm Alone', meanwhile, is a gently tropical shuffle through immersive ambient dub techno with nods towards the more experimental end of UK bass.

Review: You can always count on Capracara to bring something a little spicy to the table, but the results are even more unpredictable when you throw UK house magician Simbad into the mix. If you like your house music extremely grubby, blippy, analogue and slightly unhinged, but still soulful, you're in the right place. 'Roubaix Cube' jerks and bumps along with all kinds of bleeps and rugged beats, and the pads sound delirious but still inject some real heart into the track. 'Prowler Report' heads further off into discordant freakiness, but there's still plenty of punch down low. 'The Ozone' is the smoother offering, with some gorgeous keys, chords and pads interweaving for a still-rugged but oh-so-sweet strain of deep house music.

Review: Kit Clayton isn't immediately associated to techno and minimal dance music, but the San Francisco resident has been on that wave since the late 1990s. While being relatively overlooked, the heads have always been aware of his contributions, and Germany's Rawax have masterfully reissued one of his rarer works, his debut album from 1999 entitled Nek Sanalet. Originally out on the scape imprint, the eight tunes are a wonderfully dense and dubbed-out blend of electronics and quasi beats. "Purpakana" is a perfect example of Clayton's way of moulding liquid-like modular sounds into more concrete shapes, whereas "Kalu" is a beautiful slice of broken, dubby abstraction. We're totally infused with the closing tune, "IInapiseptili", for its thick, luscious blur of dubwise sonics, and pseudo noise. It will fit well into your Chain Reaction of Rhythm & Sound collections; nuff said.

Review: When it comes to immersive listening experiences built on cutting-edge sound design, few can match the continued brilliance of Echospace duo Rod Modell and Stephen Hitchell. For proof, check the pair's latest offering under the alternative CV313 alias. Built around a suite of three drawn-out soundscapes, Analogue Oceans sees them mimicking the ebb and flow of oceanic tides by smothering gentle dub techno rhythms in lapping waves and soft-focus, spacey electronics. On disc two, Hitchell goes solo to present his own, hour-long interpretation under the Variant guise, heading into the pitch-black depths via watery effects, clandestine aural textures and suitably horizontal ambient dub rhythms.

Review: Somewhat surprisingly, this collaborative album had its roots in a 2013 request from Michael Mantra for dub techno and ambient dub stalwart Mr. Cloudy to remix tracks from his Silent Season-released 2013 LP "Light In My Head". Six years later, and after sending parts and versions back and forth, the pair has conjured this set of lengthy, deep and mind-altering excursions. Mr. Cloudy provides versions of the collaborative "White Dub": an ultra-deep, spaced-out "Remix" that smothers a gentle, slowly shifting ambient dub rhythm in heavily processed snatches of field recordings and atmospheric aural textures around and a sparser, more spaced-out "Edit" that's closer in tone to Mantra's otherworldly, dub-influenced soundscapes. Sandwiched in between you'll find a hypnotic version by Mantra that was partly created using music concrete techniques.