Back catalogue: Techno (すべて)

Review: Kevin de Vries collaborates with rising stars Y do I on his latest EP and it is a three-track journey showcasing the signature Afterlife sound. Merging emotionally charged moments with driving basslines and electrifying energy, the duo strikes a balance between light and dark while cooking up grooves that resonate deeply. Each track embodies the label's ethos of fostering close dancefloor connections through rhythm, emotion and vibration. This is evocative, painstakingly designed melodic techno with pristine synth work and sleek drums that carry you into all new worlds.

Review: The cultured ESHU label has pulled other some more tasteful talents for this four track 'Conrexture' EP. It opens up with Julien Fuentes's 'Jah Justice' (Klaridub Ambient mix) which is a nice atmospheric opener with some conscious dub mutterings and sci-fi pads. Jocelyn & Yasin Engwer then kick on with some watery, sub-aquatic minimal dub tech bliss in the form of 'Sticks & Stones', Voal gets even more dark and dirty with some grubby dub basslines on 'Eight Ball' and Ivano Tetelepta/Christine Benz layer up watery droplets, melodic whistles, static electricity and rubbery rhythms to mind-melting perfection on 'Supreme.'

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: Brian Dougans and Garry Cobain, the masterminds behind Future Sound of London, return with The Pulse EP Vol 3, a reissue of their classic work under various aliases on the Jumpin' & Pumpin' label. This highly anticipated 12" features tracks that showcase their 90s techno brilliance. Side-1 opens with Smart Systems' 'Tingler' (Four By Four mix), a dark, sinister track that channels Beltram's 'hover' sound into a hardcore rave anthem. Indo Tribe's 'Owl' (I Can See You mix) follows, hailed by fans as one of the greatest breakbeat hardcore tracks ever made, a retro-classic loaded with chunky, energetic beats and an unforgettable sample. Side-2 kicks off with Indo Tribe's 'Bite The Bullet Baby' (Jacques Reynoix mix), another gem that blends early 90s rave energy with a unique edge. The real highlight, however, is Yage's 'Calcium' (Elementary mix), which first appeared on Future Sound of London's Accelerator album. Even today, it sounds transcendental and timeless, its melodic piano lines and otherworldly ambiance continuing to win over listeners. This EP is a vital piece of underground rave history and an essential listen for fans of early techno and breakbeat hardcore.

Review: Six dance tracks skillfully blending old-school vibes with contemporary sounds, spanning acid, breakbeat, electro and house, inviting listeners to dream of underground raves and enigmatic gatherings where ethereal battles against soulless algorithms unfold amid nocturnal dance. Highlights include Trabuco's 'Happy Spliff, a vibrant mix of New York house and early 90s-inspired techno, setting a nostalgic yet fresh tone. Trabuco's 'Signals' follows, delivering a spacey techno experience that feels both futuristic and retro. Yepecc's 'UFO Camp' seamlessly combines electro and acid for a sci-fi romp that transports listeners to otherworldly dimensions. Kevin Kendall's 'Volca Three' stands out with its rich analogue bass, adding depth and warmth to the compilation. The album closes with Victor Reyes' 'Inspired By Nature,' which offers a cool, bouncy finale that leaves a lasting impression. Overall, The Sciences of the Artificial is a refreshing take on retro styled techno and it is perfect for those seeking a blend of nostalgic and fun.

Review: Under The Radar present 'Coconut Rice', emanating forth from the old demo music vaults of Yagya, dating back 15 years to the summer of 2008. Having solicited the tracks straight from the horse's mouth, the label are more than proud to repackage the track alongside its two original remixes by the artist, the Q and Z variations, while also bunging in a special ambient Derridean dub Deconstruction by none other than Octo Industrie. Expect heavy immersings in texture, rainfall, chord stab and subnautical bass, but with Yagya's signature twist of extra fullness.

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.

Review: Since 2016, Italian producer Younger Than Me has been a rising force with an ever-growing fan base after releasing on top labels like Bordello a Parigi, Tusk Wax and Dischi Autunno. He is someone who blends trance, breakbeat, techno, and progressive house in his own unique way and that has earned him widespread recognition alongside sets at venues like Berghain and Hor Berlin. His latest EP comes on Skylax and features six tracks including collaborations with Kiara Scuro on 'Ghost in the Rave' and remixes by Mahkina and G?eg. This is another great window into his genre-defying sounds.

Review: Fantastically uplifting trance fusions from Pescara's Yu, and up-and-comer with an evidently keen ear for the sublimer conclusions inferable from the dancefloor. Debuting for Discarded Gems, a Berlin-based label whose name takes after the common musical vernacular term that refers to lost tracks as 'gems', you can be sure that this riveting new release is at once subtly but drastically boundary-pushing, seeing value not only in the pearls, tanzanites and garnets of the world, but also the unpolished quartzes and agates. Working backwards (why not?), 'Tropical LED' brings electrance and Italo flavours to a techno form, as speak n' spell samples scuttle across the toppers; then there's the raunchier, industrial rock-intoned 'Robotik Hunter' and the unabashedly trancey breaks cut 'Another Destination', which comes second only to the cascading acid trance roller that is 'Beautiful Moment'. They all are, really.

Review: It is five up for the Cimedirapax label who turn to great Italian artist Yu. These cuts are the result of experimentation and research designed to maximise the impact of his kick drums and basslines and they come accompanied by hypnotic and captivating sound designs. 'Alpha Isolary Song' opens up with a nimble rhythm and nice squelchy synth bass next to hooky melodies. After the raw energy of 'Tempestivity' comes the dark adn acid-tinged bass menace of 'Forever Young' while closer 'Sun Remix Track' is another nice analogue workout with inventive melodies origin the character over the driving rhythms.

Review: Adalsteinn Gudmundsson aka Yagya has long been at the forefront of the dub world, He has a fantastically painterly style that fauna him sweeping long-tailed chords across wide-open vistas and laying down smooth basslines that lock you in. The changing seasons of his native Incline have often been his chief inspiration and that's the case again here on his most dreamy work to date. The record is divided into the distinct moods of Spring ('Vor') and Autumn ('Haust') and is brilliantly escapist and evocative.

Review: Susumu Yokota's venerated 1994 classic Acid Mt. Fuji is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally released it. Japan's Musicmine - specifically its electronic subsidiary Sublime - released the album on June 29, 1994, simultaneously with Ken Ishii's Reference To Difference, as their inaugural joint offering. Tantamount to a fusion of ambient acid/rave - then still nascent in Japan - with new age music, Susumo Yokota was likely the best man for the job at the time. With his first album, The Frankfurt-Tokyo Connection, he'd not yet established his electro-pastoralist style, yet it was Acid Mt. Fuji that divined the latter-day emotes of Sakura, a new age so adroitly fused with electronica yet emulable by few. Though the later years of Yokota's life have been couched in a good deal of privacy and mystery, Acid Mt. Fuji certainly betrays a fittingly shrewd and introspective character on the part of the artist, one that served him well. Its long, drawn-out nature soundscapes - tempered by the piquant sounds of modern synths like the TB-303, which animistically, pseudohallucinogenically blend with the animal sounds themselves - recall something like an alpine augur's waking dream.