Back catalogue: Techno (すべて)

Review: Menacing EBM and dark synth billows from a Netherlands hinterland; our heralds speak of an esoteric encampment by the name of Espectro Oculto, said to be the remote incantators of an unstoppable curse in sound. Six shadowy emissaries have been sent to spread the pestilence; Trenton Chase, Martial Canterel, DJ Nephil, Exhausted Modern, Fragedis and Happy707. Clearly, the faction have recruited only the best, trusted and yet most nefarious of spies from as far-flung regions as Czechia and Argentina in the administering of such a sordid sonic plague. We're left most quivery at the centrifugal doom drones of Exhausted Modern's 'Fear Of Focus', across whose breakdown banshees are heard wailing and snarling, and Fragedis' 'Landing In Reality', a lo-fi techno freakout and sonochemical anomaly, channeling militant two-way radio samples and hellish FM synthesis.

Review: Maara's debut on her very own Ancient Records lifts the lid on long-hidden truths and buried queer histories. Rein-whipping the steed of techno to redirect it towards better representations for lesbian communities in dance music, 'She's Startin' and 'Unbearable Delight' are heard resurrecting forgotten, seventh-hell secrets on a furious A-side. Faustian pacts tempt us to indulge a diabolical knowledge, while Maara holds out hope for a sapphic world, extracting simmering, fluid desires against a background of staid complacency. The Montreal producer ends on a slippery note with 'Scissor Me Timbers', where the sound design morphs into something eerily glottal, with bellowing voices, alarming hooks and knocky percs promising a ceaselessly hedonic alternate future.

Review: Brazil's Marcio M shows that Latin America loves hard techno too, which is not something we necessarily knew before we heard this. His outing on Triple A is triple X rated from the off: 'Deja Vu' is a jacked-up hard techno slammer with snuggling acid lines, caustic pads and dark vocals all trapped in the relentless rhythm. 'GTFO' has undulating loops that lock you in the here and now and unleashes bright, flashy, raved-up mentasm stabs and 'Let's Go MTF' daisy it back to a more minimal but no less driving and destructive mix of drums and synths. 'The Voice' is the final guaranteed hell-raiser with its pacey drum patterns and rusty synth textures.

Review: Medellin producer Marck D (Charlie Escobar) is a new Planet Rhythm poster child, though his digital releasing repertoire is nonetheless colossal even without them, his many affairs including Illegal Alien, Phobiq and IAMT. Shocker it is, then, that 'Dune' is Escobar's first ever 12"; the record brings ultraphonic chord slurries ('Behind The Chord') and federated, intergalactic-dynastic codes of techno honour ('Atreides'), riding the sand-wormed thematics of the Frank Herbert sci-fi classic.

Review: The Martian's 'The Long Winter Of Mars' marks a triumphant return, celebrating 30 years since Red Planet 5's original release. This reissue spotlights two iconic tracks, each occupying a side of the EP, and serves as a potent reminder of Detroit's techno legacy. Side-1 features 'Skypainter,' a track that transports the listener to uncharted sonic territories. It's beautifully layered, with an emotional depth that keeps the energy constant from start to finish - Detroit techno at its most expressive. On Side-2, 'Season Of The Solar Wind' delivers a powerful punch. This track is a prime example of dynamic Detroit-style techno, with a rhythm that captures the raw energy and innovation that defined the genre. This reissue from Red Planet, Underground Resistance's legendary sublabel, is an essential piece for anyone who reveres the Detroit sound.

Review: The Martian's Ghostdancer, reissued by the iconic Red Planet label, is a true gem in the world of Detroit techno. This record radiates a warm, soulful funk, blending vintage Detroit sounds with a unique twist. Side-1 kicks off with 'Medicine Man,' a track steeped in classic Detroit vibes, followed by 'The Vanishing Race,' both tracks reflecting The Martian's mastery in crafting timeless techno. Side-2 brings an intriguing contrast. 'Windwalker' is an uplifting, jazzy piece that exudes happiness, while 'The Talking Rocks Of Mars' ventures into darker, rougher territory, offering a captivating divergence from the other tracks. This contrast on Side-2 highlights The Martian's exceptional production skills, showcasing both depth and versatility. As Red Planet begins reissuing its catalogue for the first time, Ghostdancer is set to be in high demand. For any Detroit techno enthusiast, this release is essential, a standout from one of the genre's most influential artists.

Review: In signature cinematic melodic techno style, Mind Against and Cay bring 'Cant U Hear Me / Trust', laying thick a hi-tech fusion of soulful house and synthetically squeezed sound-energy. The thrumming heartbeat of UK club culture is heart sifted through a harsh cyborg grate, reducing things to a metallurgic, pulmonary pulp. Crystalline percussion, cascading synths... 'Trust' makes particularly pristine use of untainted pluck design, with peaking plucks wriggling in the mid-high layer like buds on a mecha-euphoric flower (just look at that front cover).

Review: German label Minimood keeps it deeper than deep each and every time. The Extra sister label steps up here with the eponymous label head in charge of two more meditative and mindful trips into the underworld of dub. 'Track 1' is perfectly unhurried, with sparse chords punctuating a deeply buried bassline and subtly implied rhythm. Whether warming up or zoning out a room, it's a doozy. The second cut ups the pace a little but still has warm, rounded edges and muffled knocks and hits over a pillow bassline and rubbery kicks that melt to nothing. It's minimal dub techno perfection, frankly.

Review: This mysterious, limited-edition techno release strips everything back to pure sound, delivering four futuristic tracks that span electro, techno, house and acid. Side-A kicks off with 'U Like It Raw (Red Hot)', a deep, rolling techno cut infused with raw energy and a hypnotic house vocal that keeps the groove locked in. 'Red Eye Drive' follows, channeling old-school acid techno with minimal, atmospheric production. Dubby and stripped-down, it's a heady, late-night journey through misty soundscapes. On Side-B, 'Wannado' embraces electro and acid, with a futuristic, spacey feel that twists and turns through intricate layers of sound. Closing out the release, 'Headz Vol 3' drifts into floaty, ambient-acid territoryialien, ethereal and deeply immersive. With its varied but cohesive vision, this record is a great example of the depth and range in underground electronic music. A true gem for those who seek something beyond the ordinary.

Review: London label Fourier Transform welcome back Rekab (James Baker) and label debuter Mre for 'Ace High'. 'Armadillos' rolls up its chassis for a serious exercise in minimal weight, reconstituting tuned percussions as it trundles along, while Rekab's 'Always Having Fun' posits an ideal life-mode: a steady, direct current of enjoyment, set to hedonically calculated beats. 'Climbing High' rebates the percussions for a subtle lark's ascent in deep acid, while 'Ace' complementarily descends across cross-rhythmic breaks and harmonies.

Review: Serenity is a mental health charity label that is now back with more sonic gold, this time in the form of a reissue of Marco Bernardi aka Octogen's 'The Journeyman' from 2008 on Soma Recordings. It is an immersive, emotive sound with lush and ethereal pads and a moody bassline that keeps you locked. The B-side offers two original tracks from Bernardi 'Travelling to the Sun' is one to hypnotise floors with its hypnotic chimes and raw drums, while 'Little Tiny Crickets' delivers a fast-paced IDM twist with some killer synth work. As always, proceeds go to charity this time Papyrus UK who support youth suicide prevention and MusicSpace.

Review: The third in Exitus Records' lightyear spanning V/A series, we again hear six new, boundary-pushing new ones from six satellite artists of the present day Berlin techno scene. Opening chord cascade 'Figure Eight' by Pink Concrete contrasts sharply to tunnelling techno-body suite 'The Dream Of Motion' by Krow, signalling several more tuff propulsions to come: most notably Sayid K's 'No Lights', a balmy nightscape from the newcomer, where digital zaps initially double up as hi-hats.

Review: Monolake's defining third LP Gravity was the second album to be released through the artist's own Imbalance Computer Music, as well as the first to feature Robert Henke predominately, as his former partner Gerhard Behles became increasingly consumed by the foundations of what become the Abelton Live empire. Tense, percussive digital minimal techno ensues, setting steady beats against rattling, materially modelled sound design - the record's resonant overtones sound like sprockets undergoing tidal to-and-fros of suspension and release - this record sought thematic refuge in a universal force of natural law: gravity itself. After a recent reissue of Monolake's first album Hongkong, this turn-of-the-century affair - appearing on vinyl for the very first time - offers a shattered, breathy brand of minimalism, perfect for shrunken heads and demanding DJs alike.