Review: Deeper shades of a finely sifted pedigree. Irish label Appian Sounds, helmed up by Al Blayney, champion only winnowed techno sounds, not threshed. A welcome international team huddle in, with these six artists from locales as far-flung as Amsterdam and Valencia contributing the likes of 'Tsuneo' and 'Persist'. The tunes verge melodic as they move through and beyond jankiness, distending die-cut acids and subtly synthetic humanisations, especially in the percussion department. 'Fuego' is the zen roshi's choice, its gaffered, glass-smithed pads topping off a naturalistic percussive surging forward, one best experienced with your eyes closed.
Review: We shall never apologise for our love for the work of Steve O'Sullivan. His contributions to the world of dub techno are second to none. They are also mad consistent both in style and quality which means they never age. Here he steps up to Lempuyang with his Blue Channel alias alongside Jonas Schachner aka Another Channel for more silky smooth fusions of authentic dub culture and Maurizo-style techno deepness. Watery synths, hissing hi-hats with long trails and dub musings all colour these dynamic grooves. They're cavernous and immersive and frankly irresistible and the sort of tracks that need to be played loud in a dark space. In that context, you'll never want them to end.
Santonio Echols - "Piano In The Light" (Emanuell Echols mix)
Brian Kage - "This Saturday Night"
Ryan Sadorus - "Down Below"
Review: Upstairs Asylum is kicking off the year in some style with a couple of killer new EPs. This one is the first in what is presumably a new series to showcase the talents of the Motor City. Mike Clark & Marcus Harris get things underway with 'Hey' which has a subtly uplifting feel thanks to the bright, sustained chords and cuddly drums. Santonio Echols's 'Piano In The Light' (DJ Emanuell Echols mix) is laidback, playful deep house with magical chord work and Brian Kage brings his classy depths to the smooth grooves of 'This Saturday Night.' Ryan Sadorus brings things to a close with the smoky 'Down Below.'
Review: Released just days after their Reflections tour, I Jordan and Sherelle link with club institution Fabric and their new label Fabric Originals. Both artists currently working on inspiring stratospheric levels, their energy is captured here across the two unique tracks. I Jordan rinse us up and down the highways and byways of the UK with their high impact 'M1 / M3' while Sherelle goes full-on techno with 'Getoutofmymind'. Intoxicating stuff!
Review: This is the thirrd release by the amazing Italian producer Ivan Iacobucci for the Perlon label. The previous two were so well received, this next one was destined to come out sooner than later. Perlon fans know what to expect from their label of choice and Ivan delivers the goods. Those addictively quirky and fonky jackin' minimal techno jams. The title track is that and then some! We especially like the sexy jam 'Waiting For My Love'. Expect the unexpected when you flip over the record as 'Close the Door' is a full-on acid banger that combines high energy techno into what sounds like a video game soundtrack theme song! Closing things out is the wild sounding 'Fear & Madness in the Desert'. We are smiling at the thought of someone playing out these corkers to audience. Expect to see WTF typefaces everywhere!
Review: Iceland's Thule offshoot label 66 Degrees was a vital label back in the day. After a 20-year hiatus, it came back strong in August and now follows up quickly with a second superb EP. This one is a carefully curated various artists collection that pulls together some local house anthems new and old. Ozy's 'Sequential Dub' is a super smooth deep house number with lush chord work. Sanasol brings heavier, more raw house drums and grinding bass that will get floors in a sweat. Oz Artists mixes up a raw, mechanical groove with balmy, dreamy pads up top to make for something utterly compelling on 'Atomox; while last of all Terry Cummingz pays homage to dusty Windy City house on his perfectly lo-fi 'Cherry Bon Bon. Classy business for sure.
Review: Simone de Kunovich and Pancratio join forces on the 'Memory Card EP,' a captivating three-track release that marries retro video game nostalgia with cutting-edge electronic music. Inspired by early PlayStation 1 adventures, the duo masterfully weaves samples from obscure games into their compositions, crafting a sound that is both minimalist and evocative of 32-bit textures. Whether it's setting the mood in the mellow early hours or energising a peak-time crowd, this EP equips DJs with versatile tracks that promise to electrify any dancefloor. With its unique blend of exuberance and nostalgia, the 'Memory Card EP' is a must-have for enthusiasts looking to add both depth and dynamism to their sets.
Flare's Grip - Prism Remix (Herbert's Make It Right dub) (6:39)
Vol 03 - 02 (6:16)
Review: Remastered rarities by the late Susumu Yokota under his 246 and Prism monikers. Go Up was originally a defective release which has since been corrected and remastered and Vol 3 - 02 was not released. It also features a megamix of Ambient Love and Squeeze Up (which feature on Cosmic Soup 005) by Gene On Earth and a remix of Flare's Grip - Prism Remix by Matthew Herbert titled "Herbert's Make It Right Dub". Three legends on this EP. Superbly remastered and cut by Mike Grinser at Manmade in Berlin. Artwork by John Williams.
Radical Chic - "In Da Shadows" (Terry Francis remix) (7:31)
Space Bunny - "The Key" (Wax Trax remix) (6:37)
Review: Gems, a new label with a nose for unearthing dusty relics of the UK tech-house scene, kicks off with a double shot of pure 90s dynamite. Label boss Paul Still, Croydon luminary and veteran crate-digger, has dusted off these two bangers, ready to reignite dancefloors. First up, Terry Francis unleashes a remix of Radical Chic's 'In Da Shadows' that'll have you reaching for the lasers and sweating buckets. This ain't no polite shuffle - it's a full-on assault of pulsating basslines, swirling synths and big energy. Francis, a master of his craft, layers textures and effects like a sonic sorcerer, conjuring a tapestry of sound that's both intricate and exhilarating. Flip the wax and Space Bunny's 'The Key' unlocks a different kind of chaos. This infectious groove, built on chunky drums and a hypnotic bassline, is pure, unadulterated dancefloor hedonism. But it's the vocal snippets and playful synth stabs that truly elevate it to legendary status. The Wax Trax remix adds a contemporary twist, injecting a fresh dose of energy while retaining the original's undeniable swagger. If you're craving the authentic sounds of early tech-house, Gems is your new dealer. These aren't just reissues; they're sonic time capsules, transporting you back to a time when the dancefloor was a sweaty, euphoric escape from reality.
Review: Santos' latest for Matt Edwards' Rekids imprint marks another step forward in his already accomplished career. The four tracks on this EP combine rugged house/techno on 'One Day,' tight, drummy grooves on 'Don't Touch' and 'Rollercoaster,' and a soulful deep house flavour on 'Someone.' It's a solid, dancefloor-friendly package that showcases Santos' ability to evolve while maintaining the qualities that first got him noticed. Supported by figures like Ryan Elliott, Honey Dijon, and Ame, this EP confirms Santos is at the top of his game, still innovating while staying true to his roots.
Review: Irish DJ and promoter Saoirse is back with a follow up to her critically acclaimed and hugely welcomed debut solo release on new imprint trUst Recordings, with this three track EP entitled Two Bruised Egos. The EP starts off with the bouncy and energetic groove of 'Gentle Romance', before the tough rolling tech house of 'Can't We Just Have Fun' which keeps the energy levels high in the main room. Finally, the London-based producer heads to the afterhour on the playful minimal funk of 'Chubby'.
Review: Sasha is back with another standout release on his own label, Last Night On Earth, this time joining forces with Jody Barr. After recent collaborations with Super Flu and Sentre as well as his solo hits like 'Florian Drift' and 'How to Wear Raybans Well', Sasha remains a leading figure in the melodic house and techno world. Jody Barr, with releases on Krankbrother, among others, brings his rugged, hardware-driven sound to the mix. Their track 'Phaxon' is an elegant, emotive affair, while Einmusik's remix adds a darker, club-ready edge.
Scan 7 - "Detroit Built The First Techno Museum" (3:35)
Inohs Sivad - "Sxerendade" (feat Charles Prophet Jr) (5:43)
EMICee - "Bounce Glxtch" (3:43)
AUX88 - "This Is What U Want" (feat Demian Monet) (4:18)
Scan 7 - "I Am From Detroit" (Dre Brown remix) (3:28)
The Man With No Name - "Devil His Due" (3:02)
Review: Hallowed Ground is a six-track compilation that showcases the depth and variety of Detroit Techno, featuring renowned artists and fresh talents alike. Opening with Scan 7's 'Detroit Built The First Techno Museum,' the track sets a sophisticated tone, rooted in the city's rich musical history. Inohs Sivad's 'Sxerendade' follows with a house anthem highlighted by sultry vocals, adding a layer of sensuality. EM-i-Cee's 'Bounce Glxtch' offers a techy groove, providing a perfect transition to the flip side. AUX88's 'This Is What U Want' delivers crunchy electro beats that will resonate with fans of classic Detroit sounds. The compilation continues with Scan 7's 'I Am From Detroit' (Dre Brown remix), a fresh take that keeps the city's spirit alive. Man With No Name's 'Devil His Due' takes listeners on a Drexciyan electro journey, adding an intriguing edge. Scott Avery closes the set with 'Sxerenade' (Low-Key Seduction mix), wrapping up the compilation with a smooth, seductive vibe. Hallowed Ground is a compelling collection for any techno enthusiast.
Review: Seekers' 'The Man And A Sample' implies that all one needs to craft such tuneful incendiaries is a human body and a phono lead. Bringing three jams laid to tape in Barcelona in 2023, in turn laid to 12" vinyl in 2024, 'Telepathic Soul', 'Isotopic' and 'Parkour Jam' are three psychotropic, street-level soundshifters from the artist and label only known pluralistically as Seekers. All the tracks weigh in on a sound complementary of breakdance and MPC-core, though the added lasery, tropical and psychic sounds lend the whole thing an impressive, colourful abstraction, in good keeping with the highly exploratory Seekers brand. This Seeker saves the best till last with 'Parkour Jam', a somersaulting next-funk jam replete with effected vocal "hups", and the sounds of ancient alien landing gear repurposed into riser and faller SFX.
Review: This is a welcome reissue of some textbook deep Detroit dub and techno. 'Verdichtung' opens up with some superb rhythms and prickly percussion, all softened by prying synth leads and smeared pads. 'Verdrangung' is just as deep with silky broken beats and more woozy, alluring pads lodging deep in your psyche. 'Einfuhlung' ups the ante with more raw and direct drums and techno leaning hi hats but still plenty of warm machine soul and 'Ersetzung' shuts down with acid-tinged lines, zippy synths and compelling, physical drum patterns.
Review: Rawax first released John Selway's Real EP back in 2020. It has aged well and is still an in-demand 12" following the sell-out of its first run. As such the German label reissues it now just as it was the first time around. The title cut is a tribal and chunky house number with thumping drums offset but tender and barely-there whispers. 'Sliders' is a twitchy technoid stomper with a sleazy vibe and the urgent, hurried grooves continue through 'Wraecca', this time overlaid with swirling solar winds and busy synth modulations. Proper tackle.
Review: Houston's Seven Davis Jr continues his musical explorations via his Secret Angles imprint, serving three floor-focused cuts on 'Is This The Apocalypse'. The long-serving US producer, vocalist and DJ is unafraid of experimentation, and his latest offering delivers a set of forward-facing house and techno hybrids. Stripped, straight to the point, simultaneously familiar and fresh i the club room is very much the focus here. The energetic opener 'I Should Be In Japan' arrives with semi-sung vocals echoing over sleazy bass and fierce four-four rhythms, before 'PBS (Party & Bullshit)' ups the tempo with jacking drums driving spoken-word sass over a stripped-back topography. Finally, the title track powers over swung house drums, with its magnetic bass hook and looped samples providing the bed for paranoid bleeps and call-to-action vocals.
Review: Shiffer and Paul Brenning's latest collaboration is a masterclass in restraint and groove. The tracks here unfold slowly, each element carefully placed, allowing the deep, rumbling bass and crisp percussion to speak for themselves. There's a warmth to the production, with subtle melodies peeking through the smooth rhythms, creating a hypnotic effect that pulls you in. The vibe is steady yet unpredictable, and you can feel the influence of house, techno, and everything in between. It's an understated but impressive exploration of sound.
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: German producer Sidney Charles likes his beats chunky and his grooves heavy. He heads up the Heavy House Society which is named in reference to that fact and that is where he steps up now with a new 12", Reso Riddim. The lithe title cut gets things underway then 'Objection' offers up super smooth and irresistible rhythms run through with deft synth work and nice swirling cosmic overtones. 'Rawline 98' taps into a throwback house sound for all passion and sweatiness and last of all 'Charles List' is an all our jacker with snappy snares, yelping vocals and Boo Williams-style house heat that will get any floor going.
Review: Newcomer Liam Sinigoi shares a debut release for Nonsono, impressing us seasoned types with an evidently sparse but efficacious sonic palate. While Sinigoi's dancefloor acumen is second to none, you'd be surprised to learn that most of these tunes were made while he was living on the site of a former hospital in London's Shadwell, not in some action-stations studio. Packed with piquant acid leads and haunting over-synths, the likes of 'Steel's HC' and 'Can't Dance!' make up a sonic tetragram, each corner of which reveals a different side to the initiate producer.
It's A Flesh Wound (Christopher Ledger remix) (7:35)
Review: Dubliner Noah Skelton brings a deep four-track helter-skelter to Zingiber Audio, topping up a well-travelled catalogue whose earprints are borne in the discographies of Amour, Daydream and Mayak. 'Formentario' and 'Pacer' deepen our hearts with fulsome beats n' bass, carefully constructed to manifest in the listener a looser, undammed destiny. 'It's A Flesh Wound', meanwhile, subtly balances emo-breaks and curious acid jazz, with a popout FM and dancing piano plinks proving particularly pacific, not least when set against *those* chords.
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.
Review: SL Jung may not be particularly prolific - this two-tracker marks the Berlin-based producer's fifth vinyl outing since 2018 - but what he does put out tends to be strong and steady. For proof, check dub techno influenced A-side 'W1', where echoing melodic motifs and liquid synthesizer flourishes bubble along atop a sturdy dub-wise bassline and snappy drum machine beat. It's as hypnotic, locked-in and quietly attractive as you'd expect, with plenty of low-end weight to counter to prettier top-end elements. Title track 'Coherence' is another slab of tech-house/dub-techno fusion, though this time blessed with more off-kilter, effects-laden riffs, Villalobos noises aplenty and deep, warm bass.
Review: Chicago born, Detroit-raised Delano Smith is one of the foundational artists of the contemporary house scenes. In 2023, he revealed he was suffering with a rare form of cancer but as this new EP title suggests, he is still here and still crafting high-grade sounds. 'When I Was Young' kicks off with his signature smoky drum loops and train travel sense of hypnosis. 'The Rush' is another heads down jam, this time marbled with eerie pads and wet clicks and claps that oil the groove while 'Rewired' shuts down with real late night delicacy and evocative minimalism.
Review: Detroit veteran Delano Smith returns on his Mixmode imprint for more of his singular style of dubby bass-driven house, with a smattering of innate soulfulness. Three sturdy tracks are featured on the Beneath EP: from the haunting back room dub of 'This Music Here' which is absolutely geared for those heads-down moments, and more basement vibes abound as heard on the hypnotic locomotive stomp of 'The Gutter', while over on the flip things end on a slightly more optimistic note with the swing-fuelled deepness of 'Euphoric'.
Review: SND & RTN brings it home on this new 12" for Lempuyang that explores their signature techno depths. 'Palantir' opens with fathoms-deep dub and ice-cold synths that snake their way over the face of the track, while 'Hyperdrive' has rumbling chords and smeared pads that keep you on the ocean floor and 'Dub Conjurer' allows in a little more light from the surface with delicate shards piercing the murk. 'Tales From The Outer Rim' shuts down with a nice gentle rhythm that undulates beneath rippling pad work and works well as perfect early evening warm up.
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: Aussie label Foul Play Records snip the red tape with a logographic roll of the dice, and an initiatory two-tracker by resident producer Solar Suite. Described rightly as two techy peak-time cuts, 'Plumb' and its sibling tune 'Second Wind' are alleged to have been made following a near religious experience experienced at Amsterdam club DOKA in 2021. The holy frenzy that follows is indeed a kind of percussive enthusiasmos, centring on deep, resonant sampled shouts and slippery sound design between fidgeting drums. 'Plumb' moves only ever so slightly more harmonic, its underlying chords and "ah" stutters functioning as audial anchors.
Solid Gold Playaz - "I Can't Think (The Nation Is Sick)" (7:11)
Solid Gold Playaz - "I Sold My Life To Acid" (7:13)
Gari Romalis - "Detroit After Dark" (7:30)
Brian Neal - "Panties" (4:01)
Review: Upstairs Asylum Recordings is one of the many seminal Detroit labels run by local legend Norm Talley. It's right in the middle of a busy run right now with no fewer superb run with three new EPs all dropping in quick succession. This one is a split EP with US duo Solid Gold Playaz taking care of the a-side. As always with this pair, their sounds are deep and dusty house with exquisite melodies tugging at the heart. On the flip, Gari Romalis steps up with the slick percussive skip of 'Detroit After Dark' then 'Panties' from Brian Neal brings jacked up analogue groves that lean into techno with a big fat bassline.
Review: Given his profile and the fact that much of his music is released via the Diynamic Music imprint he co-founded way back in 2006, it's something of a surprise to see Solomun pop up on Running Back - a testament, perhaps, to his friendship with RB chief Gerd Janson. 'Can't Stop' is undoubtedly a peak-tine classic in the making - a breathless, non-stop sprint in which waves or raw electronic lead lines, TB-303 driven bass and tech-house flourishes ride a jacking house beat. It comes backed with more percussive, beefed-up 'Dub Mix' and bonus cut 'Follow The Disco Ball', a sparkling blend of stomping house, Eurodance style lead lines and pulsating Italo-disco bass.
Luc Ringeisen & Funk E - "Treinta Y Siempre" (7:33)
Polyfan Polyphenix - "Polymorph 2" (7:02)
Review: There's plenty to get sucked into on this latest 12" transmission from Germany's Movida. It is Part 1 of a new Waterdrop EP from a quartet of artists. Somfay goes it alone to start with on the far-sighted and zoned-out house of 'Arborvitae (A Voice Like Water). Luc Ringeisen & Funk E then link up for 'Treinta Y Siempre' which is a lithe and sleek electro-tinged rhythm with lovely downbeat bass notes and more uplifting melodic patterns. Last of all is Polyfan Polyphenix, a jittery and rugged rhythm with razor sharp hi-hats and twisted vocals that bring a leftfield sound to 'Polymorph 2.'
Review: London's Lirica Archives hear two acid/electro heads go head-to-head on a new EP themed after a nominal, demented festival. Andy Somoza and Aka Juanjo are two producers from Bolivia and therein lies the four-track rub: a slickly unsettling analog house record flecked with South American flavour and fervour. With two sides shared equally between artists, Somoza handles peaktime with rubbery basses and single-hit vocal ones, while Juanjo burrows deeper into the groove, with growling basses and swarthily shadowed vocal samples arranged longitudinally across 'The Unknown' and 'Constante'.
Review: We are always excited to see a new release by S.O.N., as you can be sure to expect some quality techno. This new release is jam-packed with beautiful late night ambient techno. 'Distance Problems' is the title track for the EP and definitely stands out. The deep ambient acid that gives way for a brisk dancefloor knockout is pure sublime producing. 'Fade To Green' is a stunning atmospheric jam that verges on a beautiful acid trance sunset. On Side-2, 'Vanessa' is a floaty ambient techno track that you we just can't get enough of listening here at HQ. Just when we thought we couldn't be any happier, Romanian producer adds his Midas touch to the remix. If you like spacey techno, then suit up.
Review: Magnonic Signal label boss Spin Fidelity aka Antonio Velazquez is well known for his techno outings Subwax Excursions and Parang Recordings. Here he lends his consider skills to a fourth release from the Brussels label Nightflight Records. There is some glistening old school jack and cosmic synth work on opener 'Photon Stream' that gets you locked in from the off. He then shifts down a gear for the widescreen cyber-funk of 'Ancient Love' before heading off on a silky electro tip on 'There Must Be A Way.' Closing out a hugely varied EP is the trippy acid and melodic workout that is 'Magnonic Transmission.'
Review: This is the fourth and final installment of Sushitech label head Yossi Amoya's reissue series focussing on the work of Eric Spire and his Silver Pearl label. The Los Angeles based producer was on a hot streak back in the late 90s, fomenting a new take on West Coast house music with hard drums and psychedelic synths that lay down something of a blueprint for later tech house a la Craig Richards, Wiggle and co. This useful 12" packs another punch with potent drums and razor sharp percussion across three cuts from some of the Silver Pearl mainstays.
Review: Zombie technology sounds to ooze and overflow with battery acid, as US producer John Spring reissues four future-facing, yet technically millennial-made tracks for Pitched Peach. Produced in the early 2000s by the minimal master-don, real name Johannes Mai, 'FMMF' and its three follow-up tracks prove the durability of an 80s industrial and EBM sound, and that it cannot go extinct: especially when mixed impressively with the tempo and sensibility of tricky minimal techno. 'Traum.a' adds to this with globs of kick, power-up riser and bass stab, exegeting a forward marches reminiscent of platform gaming. Falcko Brockseiper's remix is the only melodic cut, highlighting Spring's advantage taken over an intriguing homophonic happenstance: "traum, oder trauma?"
Review: Stavroz returns after a year of creative hibernation with the 'Kick Up the Dust' EP, marking a refined yet experimental journey through sound. The title track takes a direct route to the dancefloor, blending remorseless beats with an elegant trumpet and saxophone duet that's as healing as it is intense. Her Eyes Were Red offers a unique emotional blend of melancholy and power, while Dae-El, featuring Poltrock, brings a dreamy fusion of synths and duduk into an ethereal, spaced-out listening experience. The EP's depth is further showcased in Valente, a collaboration with Castello Branco, where Sade-like vocals meet acoustic guitar and horns. An inventive EP that masterfully straddles the line between the club and the couch.
Review: Stefano Chesti aka Stephno has been hella busy this year as this is already his fifth release of 2025. His sound is rooted in techno but with hints of jacked up early Chicago and that's clear again here. 'The Intermittent' is a raw roller with vamping chord stabs to keep you locked. 'Dritto E Tondo' has some brilliantly succulent and pining kick drums powering it along with raw-as-you-like hits and trippy synths and 'Romantic Dub' is just that - warm, zoned out, cavernous dub for late night love-ins. 'Sieben Null Sieben' brings analogue drum sounds and Windy City realness to the fore to close.
Review:
For their second installment, the Chateau Chepere crew brings on board legendary producer Stephan Laubner under his STL moniker, with four time warping pieces of music. With his distinctive and intricate sonic palette, Laubner extracts from his hardware different musical colors and shapes to produce singular atmospheres. Opening up the EP is Fly Fly, an epic 11 min minimal house trip full of tension and excitement, followed by Eargrind, an eerie, laid back Detroit leaning ballad. On the flip is Light Up, a spaced out, playful and bittersweet number that will revitalize any hazy after-hours dancefloor. Closing up the EP is Unlike Dislike, a quirky, jacking and mischievous techno workout for the packed club. This diverse ep will pull the listeners and dancers into Laubner's multifaceted, low key but captivating universe.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Stonem - "Banana Affair" (6:56)
Stonem - "Jolgorio" (6:42)
Elias Sternin - "Quema Madera" (6:03)
Elias Sternin - "Acufenos" (7:12)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Uruguayan label Eviterno Records makes a striking debut with a split EP featuring esteemed producers Stonem and Elias Sternin, and it's another that makes us take note of what is going on down there in South America. Stonem takes the A-side with two meticulously crafted tech house tracks. 'Banana Afair' energises with deep basslines while 'Jolgorio' fuses acid sequences and intricate drum patterns that embody the Uruguayan groove. On the B-side, Sternin delivers 'Quema Madera,' a hypnotic, acid-driven cut with commanding basslines before closing with 'Acufenos,' a melodic yet intense finale. This debut release has our attention and locked in for what comes next.
Review: Uruguayan label Eviterno Records makes a striking debut with a split EP featuring esteemed producers Stonem and Elias Sternin, and it's another that makes us take note of what is going on down there in South America. Stonem takes the A-side with two meticulously crafted tech house tracks. 'Banana Afair' energises with deep basslines while 'Jolgorio' fuses acid sequences and intricate drum patterns that embody the Uruguayan groove. On the B-side, Sternin delivers 'Quema Madera,' a hypnotic, acid-driven cut with commanding basslines before closing with 'Acufenos,' a melodic yet intense finale. This debut release has our attention and locked in for what comes next.
Review: Stones Taro's latest offering is a masterclass in the art of tension and release, where breakbeat rhythms meet house grooves in a seamless, almost hypnotic blend. 'Clutch' anchors the release with a frenetic bassline and chopped vocal snippets that feel precision-engineered for the dancefloor. Then there's 'Stealthy Meow,' a surprising turn into trance-inflected euphoria, its shimmering melodies wrapped around a sturdy rhythmic core. Christopher Ledger's remix of 'Clutch' takes a darker path, stripping back the original's energy in favour of a creeping, minimalist tech-house groove. It's music that feels alive, constantly shifting under the weight of its own restless momentum. Here, Stones Taro has refined his genre-blending formulai as well as perfected it.
Review: Studio 1's 'Schwarz' EP, brought to life by minimalist maestro Wolfgang Voigt, embodies the essence of 90s minimal techno. Originally crafted in 1997 but released only in 2019, it features three entrancing cuts: 'Schwarz 1,' 'Schwarz 2,' and 'Schwarz 3.' The Studio 1 series, starting in 1995, made waves for its unique formula of monochromatic sleeves and no-nonsense, untitled tracks. This aesthetic not only refined the genre's visual identity but also its sonic minimalism. 'Schwarz' remains a masterclass in stripped-down techno.
Review: Steve O'Sullivan's Mosaic label is back with a second volume of its dubs series, this time on nice yellow vinyl with Sub Basics and Fletcher given one side each to shine. Sub Basics goes first with 'Mediterranean', a lovely liquid dub with bottomless depths and perfectly smooth, frictionless drums. Lovely soft melodies drift in and out as the echoing hits and icy hi-hats help oil this most heady of grooves. On the flip, Fletcher offers up 'Sludge' which is a little more tense and menacing, with darker bass and more texture as well as distant groaning pads that keep you guessing and on edge.
Hidden Sequence - "Synapse" (Bluetrain Special edition dub) (8:55)
Review: Dub techno don Steve O'Sullivan's Mosaic label is back with a new dubs series and vol 1 kicks things off with a real doozy on lovely red wax. The boss himself offers up a Bluetrain special edition dub of Hidden Sequence's 'Synapse' which is all icy lines and liquid rhythms which make you think of some frozen lake on a misty morning. Sub Basics (Temple of Sound, Lion Charge Records) opens up with a fresh dub laden track with rippling chords, tons of echo and rolling drums on 'Quarters.' Both are timeless dub outings, as you would expect from this label.
Review: Following up that excellent Synchronicity on EP Phonica AM a couple of months back, hero of the Birmingham scene Subb An returns with more underground quality with this new one on the mighty 20/20 Vision. 'State Of Flow' is an emotive and breathtaking affair that's equal parts acid, progressive breaks and UK tech house with a seething Reese bassline lurking throughout that underpins angelic vocals. Over on the flip, remixes come from Adam Pits who takes you beyond the strobelights to reach for the lasers on his ravey take, followed by Armec's menacing experimental techno rework.
Review: The mighty Rawax has now put out more than 100 releases and they are all as timeless and useful as the next. Sublee steps up for this new slab of sound and kris off with 'v' which take sup the whole of the A-side but enervating outstays its welcome. It is a progressive house cut with a driving low end, plenty of grit in the percussion and pads that circle round to bring scale and a sense of cosmic adventure. 'Simple Two' slips into a deeper, more silky tech house vibe with lovely melodic patterns raining down from above. 'Hey Brother' shuts down with some dark breakbeats and mind melting synth leads that are pure peak time, post-rush fodder.
Review: We've been loving the playful Looney Tunes for a while - they put out decent edits and left of centre underground grooves that always have a real sense of character. Next up is Supersanity with one much such track that is pressed up to a one-sided and hand-stamped vinyl. 'Bender' is named after the Futurama character who is stamped onto the label and is a warped and late-night afterparty take on deep techno with percolating synth motifs and a spoken word vocal that sounds emo and indie. It's sure to make for some brilliantly WTF moments in the club.
Review: First released in 1999, Swayzak's 'Floyd/Doobie' shook the British duo's catalogue. Though it wasn't 'Bueno' or 'Fukumachi', this deep house cut was the next best choice for followers of the then burgeoning tech house circuit. Swayzak were already favourites on this and the deep house scene, and had clawed in acclaim for their involvement in both as early as 1993. One particularly prolix bio deems them the incipients of "1st wave 2000-era progressive deep minimal", which is too analytic even for us manic categorisers. No, we prefer to take these two big-hitters as they are: brimming with enthusiasm for a gadget-packed future, 'Floyd' fizzes and twitches with the pulsing blurts of a saw synth, as if to suggest constant magnetic stimulation from above. 'Doobie', meanwhile, hears our protagonist disrobe the techno utility belt, returning to a wireless home, so to gaze out over a subtly detuned chord landscape set to munching percs.
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