Back catalogue: Techno (すべて)

Review: Furthur Electronix's first two Furthur Journeys Into compilations tune plenty of heads and shift plenty of copies. The third one keeps the quality levels high with more explorations around the periphery of underground electronics. Chris Coco opens with a soothing synth sound before Jake Slazenger brings crystalline synths and abstract modulations to the mid-tempo '168B.' There is more pace and twisted acid energy to Global Goon's untitled contribution and then old school jungle comes to the fore on the super stylish and atmospheric Gavin Masih cut. Monika Subrtova's 'Alata' is a serene and widescreen ambient synthscape that brings things to a suitably poignant close.

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: Emily Jeanne launches her new label Quynh with a bold debut that explores psychedelic club music and deep percussive rhythms. Named after a nocturnal flower, Quynh reflects new school talent Emily's authentic late-night sound and a move toward more experimental territory. Opener 'Wet Skin' dives in with pounding kicks and burrowing deep techno intensity while 'Count Me Out' brings sparse, agile drum & bass textures. 'Do Son At Night' shifts into a dreamlike flow of loose percussion and swirling synths that rise and fall with grace, while closer 'Gone Water' embraces polyrhythmic psychedelia to end what is a thrilling, unconventional statement from an artist pushing boundaries.

Review: Four percussive techno workouts drive this EP, each pushing rhythms and atmosphere alike into forward-thinking territory. Side-1 starts with 'The Cult', a relentless, bass-heavy force built for peak-time energy. The low-end hits hard, while futuristic elements keep it fresh. 'Charm' follows with a rhythmically adventurous approach, weaving breaks and deep bass into the techno frameworkiperfect for DJs looking to push boundaries. On the flip, 'Jungle Curse' layers pounding drums, looping percussion and crisp production into a hypnotic groove. Its weighty bass and driving structure make it an essential tool for deep, rolling sets. Closing out the record, 'Wild Nights' goes full tribal, locking into a hedonistic pulse that feels primal yet otherworldly. If you're looking for different rhythms in techno while still keeping the energy high - plus a heavy dose of futurism - these are well worth checking out.

Review: Mord sublabel Kazerne specialise in hardcore black labels, each record blazoned with but one silhouetted insignia: that of an arched-backed, sinister-looking hyena. With no backing info on this one as ever, the label top up a profligately churner-outer assembly line of 12"s, with over 15 records issued since 2023. Here Alexander Johannson and Mattias Fridell make their debut, all-aboarding the overdrive bus, squishing their pummel kicks to the point of satu-rave. 'Vegitationen' is a suitable title indeed, as its computational synth ascends evoke the frightful infallibility of mass data capture, leaving us all in vegetative states.

Review: Jordan GCZ brings a unique jazz-infused approach to techno on his latest release, which is a third for the good folks at Rawax. He has a complex sound but one that always remains buttery impactful in the club and pairs cerebral ideas with physical grooves, and all of it's crafted with an array of outboard gear and vintage synths. The opener blends melodic nostalgic charm with dusty house beats, while 'Timbit Acid' is an off-kilter acid workout and 'Beaver Tail' weaves together a tapestry of intricate synth patterns and glistening pads. Last but not least, 'All Dressed' offers a soul-infused take on mid-tempo techno that is deep, groovy and compelling.

Review: JR Disc has already become a firm part of the Detroit new school with his two previous outings on this label. Once again here he shows off his raw but emotionally poignant style and knack for a catchy groove. 'Bust' has rusty hi-hat sounds and deep, cavernous bass with rough edge drums a la Omar S. 'Wonder Traxx 1' then picks up the pace with heavy but inviting kicks that are again all frayed and dusty while some jazzy melodies bring a cheeky and playful twist. Pure Motor City gold if you ask us.

Review: Coorreente Belgium delivers a compelling slice of modern techno with 'Interlink', a four-track compilation that dives deep into rhythmic exploration and sci-fi atmospheres. Each cut offers a unique perspective, yet together they create an excellent and cohesive experience. Orbe's 'Jaxa' kicks things off with a spacey, melodic groove. The track's sci-fi techno aesthetic is underscored by rhythmic intricacies, creating a sense of forward momentum through the cosmos. It sets the tone with a blend of dreamlike melodies and pulsing beats. 'Refraction' by PTTRNRCRRNT follows, venturing into tribal territory with creative, off-kilter rhythms. Alien-esque warning sounds weave through the mix, adding a sense of unease and mystery that keeps listeners on edge. On Side-2, Deluka's 'Axis' plunges into subterranean techno with a deep, hypnotic vibe. Elements of trance filter through crisp production, guiding the listener on a spacey, introspective journey that feels both grounded and ethereal. Jorge Flukso's 'Synaptic' closes the EP with a nod to classic underground techno. Its dynamic, brooding build recalls the raw energy of Surgeon's warehouse bangers. The track's evolving layers and relentless drive create a late-night atmosphere perfect for dark, crowded dance floors. 'Interlink' is a well-curated snapshot of techno's diverse spectrum, balancing the cerebral and the physical with finesse. If you are one that thinks techno has been over-saturated the last decade and that there is no good techno coming out anymore then I would check this EP out.

Review: Passing Currents aims to stand out from the predictable by offering a deeply human touch in its music. This five-tracker backs that up by melding academic expertise with dancefloor intuition and the A-side features txted by Phil Moffa remixed by Yamaha DSP coder okpk after they met during doctoral studies, they flip technical mastery into bass-driven energy while Atrevido' fuses California warmth with analogue electro, Josh Dahlberg's rediscovered 2009 electro gem, 'Ass On The Floor', still bangs and Detroit's Kevin Reynolds delivers hypnotic grooves before Hazmat Live pushes boundaries with a sound rooted in soulful, experimental innovation.

Review: One Eye Witness rounds up another four acts for their periodic V/A series, spewing forth four breaks-driven whooshers crossing into progressive techno territory. The Hague duo Young Adults nod to a 1997 Loveparade anthem with 'It's Only Temporary', while breaks and kick implants converge on Christopher Ledger's 'Change That', a track which sounds like the starting firings of an interplanetary expedition pod after years of disuse. Joely brings cosmic chug on the cocooning B1 'Transitional', while the Samesame closer 'Novel End' is just that, traversing a noxious atmosphere with a flexoskeletal electro beat.