Back catalogue: Techno (すべて)

Review: Not content with delivering one of last years biggest techno moments with two superlative takes on Carl Craig's seminal "At Les" Christian Smith turns his hand to another deity of the techno realm in Laurent Garnier. In tandem with Brazilian techno icon Wehbba, they drop two alternate versions of Larry's iconic late nineties track "Flashback" with the 3am mix teasing out that distinctive bassline with such panache before it drops with an immensity that Garnier himself was moved to comment "This mix is f*cking brilliant, I LOOOVE IT I will hammer it everywhere LOOOOOOOOOOOOOOOVE THIS" You can't get a higher recommendation than that! The flipside remake remains truer to the original track but is sort of overshadowed by the intensity of the A Side.

Review: Layton Giordani's latest release Freaks At Night on Drumcode Sweden delivers two heavyweight tracks that are sure to ignite any mainfloor. On Side-1, 'Freaks At Night' pulses with high energy, seamlessly blending sci-fi elements with big room techno. The track's standout feature is its clever use of the classic house sample, 'the way we used to do it,' adding a nostalgic twist to its futuristic vibe. Side-2 introduces the 'New Generation' (Space 92 Remix), a dynamic track that feels like a journey through deep space. The menacing bassline and powerful rhythm create a sense of unstoppable momentum, making it a go-to choice for peak-time sets. Both tracks are built to command attention, offering DJs a tough decision on which side to unleash. Whether you lean towards the energetic nostalgia of 'Freaks At Night' or the dark, driving force of 'New Generation,' this release is a strong addition to any techno collection.

Review: Vladimir Gnatenko submerges you fathoms below the surface here with his beautifully deep, dreamy, trance-y take on techno for this new EP on Where We Met. The Kyiv artist opens with 'Storm,' an emotional track with warm but heavy grooves and none synths that drift about like fireflies around a cosmic campfire. 'Roosblom' is a little more dystopian but still has those succulent drum and bass combos with more exquisitely deft synth motifs. 'Toevlug' is like a techno lava lamp with smooth broken beats and deep space pads. Closer 'Skarrel' is a real mind melter with subtle acid and punchy drum work that is all about losing yourself on the dance floor at 4 am. Sensational.

Review: Back in 2020, Seven Hills took a deep dive into the back catalogue of Isle of White producer Andy Jones, offering up tracks he recorded as Makers of Movement. Here they return to White's vaults to explore his cult Governed By Rhythm project, initially designed as an outlet for his faster, trance-influenced productions. On disc one, we're treated to a trio of previously unreleased gems recorded between 1994 and 97: constantly building, 16-minute ambient acid trip 'ANWAM', hypnotic tech-trance treat 'Kick The Can' (whose warped female vocalisations and psychedelic noises are undeniably Goa-friendly), and 'Bedroom', which doffs a cap to early 90s Italian techno productions. Disc two features selected highlights from the two hard-to-find EPs he released under the alias in the 90s, with the breathless 'Synergy' and breathless, bass-heavy 'Toltec Chants' standing out.

Review: Gzardin has a pretty singular sound palette when it comes to his take on tech house. His medleys are bright, his drums dusty, and his chords bring colour and radiance. All that is on show on the opener of this new EP with 'Hentroduction' being a mix of laidback vibes and trippy sequences that occupy the mind. 'Rainy Pain' is more twisted and tense in its make-up and 'Part Time Shed' ramps things up again with techno-leaning low ends and warped synth synths taking centre stage. 'Desserted' shuts down with some new school jack.

Review: The Fourier Transform label outlay an arresting sonic journey on their debut release, bringing together breakbeat, ambient IDM, ambient techno, and prog house under a single banner. Opening with Inkipak's 'Betwixt', we're met with sonorous low-mid square waves and machine-gun-fire breaks, recalling the breathtaking, verging on apocalyptic expanse of a warehouse rave turned laser light show turned warzone. We break from this warring weir with 'Omnicron Acid' and 'City Of Tomorrow' by Gimmik and Brian Kage respectively, which lowers the intensity and sonic flow via spacious atmospheres and dudding percussive pops. Finally, the perfect fusion of the former two moods is achieved on 'Corrosive Tongue', the lead synth on which sounds like just that.

Review: Berlin's Exit Strategy began their 12"s game releasing EPs in browned sleeves, shortly before branching out into digital-vinyl combo releases with original artwork in the 2020s. Now with over ten years of experience under their belts, they welcome five new artists for a playful bricolage in deep and minimal techno, privileging elite, razor-sharp additive sound design and future-soulful vocal tasters. Ivory's opener 'Rain' epitomises this, while Jimi Jules squelchifies the same formula, and Aera's 'Future Holdings' rolls out the same logic to its ultimate conclusion, veering towards complex, 3D-graphic melodic techno composed entirely of climbing saws.

Review: Just in time for Valentine's Day, System 108 from the Netherlands marks eight years of business with Eight Years Of Love Pt 1, a superb 12" packed with fresh house sounds from across the spectrum. Simple Symmetry & Lord Fascinator open up with 'The Search Continues', a thumping acid laced tech house cut with indie vocals while Cream Soda bring twitchy electronics and amped up drums. There's electroclash-style rawness from Kovyazin D, Lipelis & Cosmic G explore a more celestial sound that will place you amongst the heavens and Gleb Filipchenkow shuts down with slow, elastic, acid laced gurgles on his 'Mieux La' (feat Ode).

Review: Ukrainian producer Volodymyr Gnatenko returns to Kalahari Oyster Cult with 'Mershiy' - a long-awaited follow-up that trades the drive of his last appearance on the label for something deeper and more exploratory. Spread across six tracks, it drifts between ambient dub, acid and pointillist electronics, with flashes of trance and IDM woven through. There's a widescreen, cinematic quality to it - detailed, immersive and immaculately spaced. Ushering in faded memories of 90s ambient, only re-imagined through a hi-def lens. Repeated listens reveal ever more off-world textures, insect rhythms and a creeping sense of unease. It's introspective, meticulous and beautifully produced.

Review: Grim Beazley translates the mix of chaos and calm of the Australian bush into his new album Big World. It is a fascinating listen that combines "sounds and stories with deep evolutionary narratives" into soundscapes that are both dreamy and meditative. There is a strong emotional connection in these sounds as environmental themes bubble up next to fusions of house and trance that are both old school chill yet futuristic. 'Acheron Way' is the loose-limbed and breezy opener, 'Big World' has deeper Chicago drums, 'Eucal Regnans' has a more celestial electro vibe and 'Reefer Red Gum' is a post-rave comedown.