Back catalogue: Techno (すべて)

Review: The Aniara label out of Sweden has always come at things from its own sideways perspective whether dealing in house, techno, or something in between. This new two track 12" allows different artists to take care of one side each, beginning with DJ Marathon's 'Track 1.' It is the sort of breezy, balmy cut that encourages your mind to wander amongst the stars as you get lost in the pulsing deep house beats. Ebende's 'Elevate' picks up the pace but remains a dubby delight, with warm, molten chords rippling out to infinity and cuddly kicks carrying you to a mindful place.

Review: Exxtra Beats Records backs up its commitment to pushing things on with a new four-tracker of minimal and tech cuts. Edo Ecker's 'Extraluxxo' has warped synth lines that encourage introspection while the snappy beats make you move physically. Leff's 'Future Problems' has hazy and positive arpeggios that toot away over sustained chords and move at a nice inviting pace. Little Sea offers the snappy drums and gurgling acid lines of 'How I Wanna Feel' while Andrea Bertoli & DJ Bogdan's 'Extremely On Line' is a snappy and upbeat cosmic tech cut with wonky lines adding the charm.

Review: Astonishingly, 18 years has now passed since Gilles Aiken - probably more celebrated these days for his work under the alternate Desert Sky alias - first offered up off-kilter tech-house tracks as Edward. Last year, he impressed with a wonderfully deep and unctuous EP on deep house imprint Smallville; here, he makes his bow on another must-check label, Kalahari Oyster Cult. In keeping with the imprint's love of all things trippy and otherworldly, opener 'Tentacle' sees him wrap chiming lead lines, psychedelic synth motifs, weird noises and layers of percussion to a chunky, locked-in house groove. Aiken then goes off piste via a skewed, druggy and at times dreamy tech-house remix of Trybet's 'Moodsetter'. Arguably best of all though is impossible-to-pigeonhole flip-side 'Dr Octo', which is immersive, unsettling, tactile and eccentric in equal measure.

Review: Eidolon is an alias for Ian Lehman from the US Midwest, who dropped the alias opposite the likes of Agaric around the late 00s. The sound on this release for Ukrainian label Tancido speaks to that era of dark and crafty minimal, but there's an analogue warmth to the synth sounds which suggests this might be newer material made in that vein rather than archival material. The rubbery leads on 'I'll Be A Ghost' are a surefire highlight, and there's plenty of intrigue in the arrangement to add some variation to your marathon DJ set when time starts folding in on itself and the most psychoactive tracks are the fuel to keep the party trucking.

Review: Aniara's output has always been brilliantly designed for club deployment but could never really be considered as mere tools. The artists who appear on the Swedish imprint have a cultured sound and a knack for crafting maximum impact from minimal elements. Enter Mattias El Masouri who does just that with the sublime 'Time Dilation In Ultraviolet'. It's a hypnotic deep house cut with real drive that's down to the deft broken kick drum patterns, pulsing synth and heady pads that swirl above. 'Inre Dimension' is a 13-minute plus sonic daydream with paddy drums, drumming pads and perfectly airy hi-hats that anchor you in the heart and now as your mind wanders.

Review: Label boss El Prevost makes a welcome return to No Speakers after something of a break. Thankfully the quality levels remain high here as he kicks off with 'Catastrophizing', a brilliantly bass-heavy cut with broken beats to make you sweat. On the flip, 'Landing' has a more inward sense of reflection with its fizzing synths and deep space atmospheres making an indelible mark. Last of all, the magic of Detroit looms large with a superb remix by Motor City mainstay Kyle Hall. His version of 'Landing' brings some jazzy melodic vibes and one of his trademark deep house and bumping grooves. Another essential 12" from No Speakers.

Review: The Cimedirapax crew are back with another superb various artists collection that nudges at the borders of tech house and minimal. Eliaz's 'Enbaspremal' is an alien sound with abstract designs and trippy pads and Lapucci then gets deeper and darker on the menacing 'To Be On Top.' F_Phono brings some nu-disco energy and bright 80s arps to 'Sollievo' then Marco Biagioli heads into more occult worlds with the eerie and haunting 'Strange Mirror' before Equinox's 'Intergalactic Space' offers a caustic electro workout.

Review: Ida Engberg's contribution to this release marks a striking departure from the Swedish techno DJ and record producer's usual sound, an unexpected, lush journey through the world of 2 step genre that's definitely not typically seen in her catalogue. The track is at once sensual and booming, designed for the late-morning hours when the dancefloor shifts from peak-time frenzy to more reflective, intimate moments. It pulses with a calm intensity, creating a smooth yet exhilarating rhythm that invites the listener into an immersive experience. On the flip side, 'Pink Monkeys' is a true sonic adventure, blending elements of EBM and sawtooth trance to produce a thrilling, psychedelic atmosphere. The track is a festival-ready anthem, charged with energy and unrestrained sound, allowing Ida to stretch her creative muscles even further. Meanwhile, Marco Resmann delivers two tracks that showcase his deep-rooted versatility. 'RIMA feat. Laatz' is a high-octane techno rollercoasterimenacing, frenetic, and impossible to ignore. Its relentless drive and chaotic energy keep the listener on their toes, offering a new, radical take on techno. Then, 'Dimensions' shifts into a more intricate, electro-driven vibe. Its low-slung groove is filled with subtle details, creating a balanced equilibrium that simultaneously engages both the mind and the body. Resmann's approach is detailed and meticulous, ensuring each sound has a purpose and brings the track to life. Together, these four tracks exemplify a mastery of genre-blending, pushing boundaries while still maintaining an infectious, danceable core that connects with listeners on a deep, visceral level.

Review: Eoin DJ is back with a tune that belies his age and taste: this one is a homage to Nalin & Kane's legendary 1997 classic 'Beachball' which was a huge hit in Ibiza and just about everywhere else in those heady and trance-tinged crossover dance-pop days. The EP blends sparse, organic percussion with potent bass and lush atmospherics that hark back to that era while also sounding contemporary - a fine mix of euphoric vibes and club-ready grooves. The title track you may well have heard as it has been something of a hit for a while in the clubs and has been championed by tastemakers like Job Jobse, Sally C and Spray. Bliss Inc's remix elevates the original into a modern hard-house anthem, while Infinite Well and On Lilac Skies deliver techno restraint.

Review: Anthony Georges Patrice's Ausblick label has trod a fine path over the course of its first five releases and the good work continues on its sixth outing which is a new various artists affair. It is Berlin based Ephem who kicks off with 'Dizzy' and all its bumpy beast and raw perc, then Koln's Hidden Sequence follows with 'Optical Drive' that is more stripped back and powered by warming sub bass. Anthony Georges Patrice himself then completes the hat trick with 'Easy To Love' (Tunnel Vision Mix) which over ten sublime minutes brings some more airy, double doit flavoured and has already been getting plays from Mosaic boss Steve O'Sullivan.

Review: Eris, aka. Enrica Falqui and Dea Dvornik, mint the Plexus 4 label with the 'Glimmers' EP. New outings breed novel vibes; so too does this exciting new house pairing bring future-facing, melancholic electro-progressive flavours to the table with opener 'Kundalini Rising' and A2 ensuer 'Serpente'. Both tracks shimmy and plod through the twinned vibes of alien atmospherics via a driven whimsy, nailing a sweet interplay of seriousness and affability. B-siders 'Anticipation' and 'Game Over' contrastingly move more minimal with things, using, revelling in the natural monophony of, their various analog synths, their delectably dedicated studio gear. The final track ends on an eerier note, suggesting murkier future ambi-topias to navigate.

Review: It never rains but it pours for fans of Etch at the moment, with not only an extensive long player set to drop on Sneaker Social Club in November 2024, but also this four tracker on that other much loved and consistently wonderful label Ilian Tape. His work is stepped in the textures of jungle, drum & bass, grime, dubstep and bass but rarely enslaved by their limitations. Admittedly, the final of the four tracks here, 'Clockwork Romance', vaguely resembles a late 90s techstep workout, with a hint of junglist roughneck-ness, but the other offerings are very much their own beasts, from the clattering turntablist-constructed beat of 'Jack's Design' to the gnarly, scratchy groove of 'Asami' - imagine Basic Channel and Burial jamming - and the breezy, sunny-sounding opener 'Liz's Track'. Eclectic, individual and bursting with rich flavours.

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: Greyscale unveils its latest endeavour, the Spectrum Series, as a way to continue to evolve its offerings and this time it is with something that makes a vibrant departure from its traditional black-and-white aesthetic. The inaugural release features the iconic Lithuanian dub track 'Kasdienybes Sventykla' by grad_u & Eazystyle MC as a way of commemorating its 15th anniversary. It came as a double CD in 2011 but now gets a first vinyl pressing on a nice 10" slab of wax. The track itself taps into the earliest roots of dub in the 70s and traces a line through the 80s with its heavyweight drums and endlessly echoing bass topped by great mic work. A pared-back instrumental features on the flip of this latest crucial drop from the dub dons at Greyscale

Review: Deep In Dis make a defiant comeback with their latest V/A, across which five new jaunty minimal house cuts are heard. Beginning with an expositional slow-burn - Pily's 'Bailo En Circuito', which samples Alma Matris' vocals - we then move into the juddering trance of 'Buahh Trance' by Marcos Coya and then the first mix of 'Badalona's House' by Prince De Takicardie, the latter of which is far rougher and classic in sound. Jnjs' 'X Money' brings up the B with a UK garage turn, a mood which continues with Eren Arif's 'High Volume'.

Review: Woody McBride's Sounds label continues to dive back in the archives and revive some absolute gold standard techno for modern diggers. This collab effort between McBride (in his DJ ESP guise) and DJ Skull originally came out in 1995, and it still sounds fierce to this day. 'The Drive' is a stripped down tool with all the right chops to tweak out a locked-in raver, but 'G-Rated' is the real gem on the record. In a blistering hailstorm of 303 squelch you get a definitive example of acid techno at its finest. 'The Power' might well find relevance in the present day trance-techno scene thanks to its unsettling leads and relentless forwards thrust.