Back catalogue: Techno (すべて)

Review: The debut album from Ukrainian collective Noneside unites musicians and visual artists under the inspiring words of poet Taras Shevchenko, who said 'Make love, o dark-browed ones.' Framed by a painting from contemporary artist Iryna Maksymova, the music explores the trance and tech house that is destined to bring souls together on the dancefloor this summer and beyond. Shjva opens with fresh and mashed bass and sleek trance pads that are subtle but effective. Lostlojic layer sup deep, bubbly techno drums and bass with an angelic vocal tone and Saturated Color's 'Trancia' is a speedy, scuffed-up tech groove for late-night cruising. Peshka and Yevhenii Loi offer two more future-facing trance-techno fusions packed with feels.

Review: Banging electrobass from Spain's Masa Series, mooting six of their roster artists for an incendiary exercise in grit and vibrancy. Having already invited a slew of artists for individual releases, the Cluster series here aims more at collectivity. All the tracks here nail the label's signature smushing of heavily heat-glued sound, moving between everything from electro to breaks, landing somewhere in the synaesthetic register of an earthen sonic purply-brown. The highlight here, though, has to be Anna Kost's 'Conjunction', which breaks this general rule through a fast dubstep-ish 150BPM exploration in nervous respiratory pad design and glance-off percs, making for a bracing potential set intro.

Review: Soft Traffic is an alias for a well-known digi-dub producer who recently turned heads with an outing on Made Mecum. Now they land on the mighty Sushitech with a super limited, hand-stamped 12" featuring Prince Morella. It opens up with the silky smooth 'Meltem I', a liquid dub techno roller with chords rippling out to an infinite horizon as vocal muttering up top heighten the immersive trip. Part II is more icy and underwater, with rhythmic synth undulations and smooth-as-silk drum rotations locking you into a meditative state. Last of all is part III, an ambient sounds scape with subtly suggestive rhythms as you float in an underwater cavern. Classy stuff.

Review: Future Romance's Collector II release is a futuristic trek into through the realms of melodic trance and techno, featuring four melodic tracks by different distinct artists. Solee's 'Euphoria' takes trance into the future with a smoother, more reserved approach, toning down the over-the-top elements for a refined experience. Paul Angelo & Don Argento's 'Harpe' delves into a deeper style of trance, characterised by snappy percussion and growling basslines, with influences from goa trance. On the flip side, Drumcomplex & Frank Sonic's 'Ultra Hex' offers celestial-sounding techno that builds euphorically. Closing the EP, Off Night's 'Definition' presents the most peak-time trance track, with epic and big-sounding elements. If you are looking for the future of the trance and neo-trance, check this out this EP from the birthplace of the genre.

Review: The all powerful Drumcode label still does a fine line in big room techno after countless years and even more releases of the stuff. This third part of the A Sides collection brings together a towering selection of names from that scene including Tiger Stripes with the smooth cruise that is 'Altar'. Veterans Pig & Dan vs Gregor Tresher get more intense with frosty loops and dubby hits building a vibe and Wehbba ups the ante with acid daubs and fizzing drums on 'The Next Step.' Nicole Moudaber's 'Come To My Beat' (feat Romina) then hammer home a hefty techno groove.

Review: Given their famously militant approach to music formats, it's a surprise to see Paranoid London's previously vinyl-only 2014 debut album finally being issued on CD. For those who missed out first time around, it's well worth checking. As you might expect, it makes great use of both vintage analogue equipment and similarly old skool influences, in turn doffing a cap to Phuture-style Chicago acid, Inner City, hip-house, Green Velvet, Dance Mania style ghetto-house, and stripped-back, dancefloor-friendly machine soul. Despite the ragged nature of some of the material, it's both hugely listenable and hangs together impressively - no mean feat given the DJ-friendly nature of the tracks. It all adds up to a retro-futurist treat.

Review: When it comes to wresting maximum emotion and energy from analogue electronic instruments, few artists can match acid revivalists Paranoid London. They've certainly made their machines sing on Arseholes, Liars & Electronic Pioneers, their third full length excursion. Kicking off with the EBM-meets-acid growl of Joe Lewis hook-up 'Love One Self', the set includes such gems as 'People (Ah Yeah)' (an ambient acid number featuring Bobby Gillespie on vocals), the hard-wired acid trippiness of 'Up Is Down' (with DJ Genesis), the squelchy and spacey excellence of 'Start To Fade' (with Josh Caffe), the acid-electro brilliance of 'GRINDR' and a genuine future anthem in Mutado Pintado collab 'The Motion'.

Review: Lustrations finds Mike Parker releasing a long overdue debut album filled with his distinctive whirring insectoid synths and overpowering basslines and represents a welcome return to Prologue for the first time since 2011. Undoubtedly one of the more interesting producers in contemporary techno, Parker's quiet obsession with analogue experimentation, fascination with ring modulators and love for the atonal and dissonant works equally well in the album format as it does on those distinctive looking Geophone 12"s he has put out over the past few years. A theme of clarity and hypnotism is apparent when listening through all twelve variations of "Lustration" and together they combine for another superb LP release from Prologue.

Review: Photek's masterpiece for the new millennium Solaris catches a repress on Proper recordings. From propulsive, metro-setting opener 'Terminus' to the elegiac, trouble-in-paradise closing synth meditation 'Under The Palms ', Rupert Parkes casually shakes off all expectation with a flurry of infectious head boppers channeling everything from the fragmentary half-step of the nascent broken beat stylie- read: 'Juno' (sic), to the snarling Valve-era techstep of Dillinja and Lemon D on 'Infinity' via Larry Heard's late 90s deep lounge leanings on the peerless 'Mine To Give' (note the similarity in artwork with Heard's Genesis). Solaris is very much a product of its time, the highest praise possible given the early 00s was one of the most amoebic and fluid periods in UK dance music history. It speaks to the undying british dancefloor tendency to allide tempo and atmosphere, casually felling boundaries in genre to create something as reverential as it is innovative. Classiq.

Review: Back in 2021 Adam Pits heralded the start of the On Rotation label with his own debut album, A Recurring Nature. Now he's back with a follow-up which finds him stretching out as an artist ever more - a fact which is absolutely evident from the gorgeous ambient swathes of opening track 'Lost In The Ether'. Even when the drums kick in on 'Sleepless', they're more tilted towards fragmented patterns and organic tones rather than rote drum machine sounds. There's space for peppier electronica and steppy heads-down gear, but throughout Pits imbues his sound with the richest synthesis imaginable. In that sense, you can track the path of development from his earlier work while enjoying the adventurous new terrain he's exploring as an artist.

Review: With Planetary Assault Systems, one imagines weaponry of celestial scale, designed to zap spatial anomalies, planet-eating worms and other eldritch horrors into oblivion. 'Reassembled' hears Mote Evolver boss Luke Slater follow up last year's fifth volume on the 'Deep Heat' series, and does well to mastermind the evocation of such numb horror, such gargantuan warfare. Made up of a throng of "reassemblies" by Oscar Mulero and Len Faki, as well as Slater himself, this one makes up part of a series also involving Chlar and Rene Wise. The alien sound design here is highly believable, with the new versions of 'Engage Now To Surface' and 'Surface Noise' bringing mucusy blends and membraneous bells.

Review: A truly landmark album in the history of techno, Richie Hawtin set the bar very high for himself and his Plastikman alias with this record. Sheet One is fabled in many ways, from the notorious blotter-sheet sleeve to the inscription about drug consumption on the run-out groove, but its the music itself which has stood the test of time. Wringing layers of emotion from a 303 beyond what most thought was possible, Hawtin created an exciting new extrapolation of the Detroit techno he took his lead from, foreshadowing the increased minimalism which was yet to come. Some 30 years old and still a dazzling masterpiece of modern electronic music, it's sounding better than ever on this special edition reissue via Novamute.

Review: Techno scholars have long believed that the release of Porter Ricks' 1996 album Biokinetics was something of a watershed moment. Not quite deep techno, dub techno, ambient techno or abstract experimentalism, but something in between, the album set new standards for sound design, minimalistic percussion programming (Ricardo Villaobos being one who learned much from its use of off-kilter approach) and dancefloor experimentalism. As this remastered 25th anniversary edition proves, Biokentics still sounds fresh, inspired and wonderfully unusual. If anything, it sounds more current now than it did way back in the late 1990s - a sure sign of its timeless, ground-breaking nature.

Review: PRZ's debut on Sync 24's Cultivated Electronics comes in the form of a magnificent new double album, Lost Art. As a producer, DJ, and co-founder of Chateau Royal already known for a unique style that merges intricate rhythms with ethereal melodies, he builds on a sound he has been honing for a decade on prestigious labels like Clone West Coast Series and Hilltown Disco. This work is a cohesive one starting with the atmospheric 'Introvert' and then going on to feature more playful tracks like 'Lazerton' and the title cut alongside darker electro tunes like the corse 'Velocity Shift' and retro funk of 'Back From 89.'