Techno Recommendations September 2015

Review: There's a delightfully celebratory feel about this debut volume of Cititrax Tracks, a new 12" series from Minimal Wave offshoot Cititrax. As beautifully presented as we've come to expect, Tracks Volume 1 boasts a quartet of dancefloor-ready smashers from a blend of new faces and label stalwarts. Amato (aka The Hacker) kicks things off with the glistening EBM funk of "Physique" - all restless synth refrains and pounding bottom end - before LIES affiliate Tsuzing go all dark, psychedelic and twisted on the thrillingly intense, acid-flecked "King of System". An-I go all DAF (with a touch of Front 242) on the fuzzy and dystopian stomper "Mutter", before Cititrax regulars Broken English Club delivers a storming chunk of industrial-tinged analogue funk ("Glass"). Bravo!

Review: Under his Chemotex alias, Marcos Cabral has been one of The Trilogy Tapes most productive artists in recent times. This is his third 12" for Will Bankhead's imprint in less than 12 months. Unlike Cabral's recent album for L.I.E.S, which reveled in its' own distorted, balls-out intensity, Thulsa strives to get a balance between becalmed techno hypnotism, skuzzy grooves and gently melodious intent. This blend is perhaps most satisfyingly mixed on the industrial-tinged clank of "Delta City", though the woozier, scuffled late night warmth of "Music For Security" pushes it close. Twice he heads towards deeper territory; first on the title track's trance-inducing synthesizer loop groove, and secondly on the dubby, locked-in tech-house majesty of "Lorentz".

Review: Minilogue's Sebastian Mullaert strikes out on his own as Wa Wu We. The second release in the new series sees him exploring, deep, ethereal and atmospheric minimal house; business as usual basically. "Track 1" is layer upon layer of swirling, all consuming synths and pads over a pumping beat, taking you to a truly higher state. "Track 2" is a hypnotic and transcendental journey which reminds you of why he's on good terms with Donato Dozzy and such a favourite at Labyrinth festival. Lastly "Track 3" on the flip is a lush beatless ambient piece with densely layered pads and delayed and reverberated shakers giving it a sense of movement allowing you to while you float far away while listening.

Review: Cult Berlin operation Slow Life resurface with their second 12" of 2015 with the typically titled From a Cosmic Perspective finding founding member Sergio Moreira sharing space and remixes with Refracted. Not deviating one jot from the style developed over previous SL releases, Moreira opens this 12" with the dubby, blissful "Shuttle Transmissions", a track that gets mutated into something entirely different and, yes, acidic on Refracted's accompanying Acid Shuttle remix. Roles are reversed on the B side with Refracted in quite incandescent form on the wholly appropriately named "Swolling Senses". A beautiful track this. Moreira goes super deep on his closing remix of the track!

Review: It's a good thing that Terrence Dixon wasn't being serious when he announced that he's stopped making music. In this day and age, he is the one true pioneer left in Detroit, and his utterly singular brand of techno is an essential part of our daily existence here at HQ. This time, Dixon returns under his own name and under his most successful alias, Population One, on one split EP for Developer's Modularz label. "Code Of Conduct" and "Concrete Playground" represent the Population One side, the first tune being a subdued kick filled with cavernous space above it while the latter is more classic Population One thanks to those bizarre melodic twists. Dixon serves up "Touching Bass" and "The Beholder" on the flip, two jazzy techno sculptures that are instantly recognizable as his own. Recommended, as always.

Review: G 23 has kept this calm and discrete when it comes to his releasing output, having only release a handful of EP's since his debut on Infinite Machine two years ago, but he's back on Super Rhythm Trax with a deadly three-pronged techno attack for the piste. "Kidding Kids" is a banging acid squelcher filled with short breaks and percussive shots, while "Mountain's Acid" is a no nonsense, kick-fuelled bruiser accompanied by subtler swarms of 303 action and scientific bleeps. On the tail-end, we have a remix of "Mountain's Acid" by Jerome Hill, who exposed the Roland tricks and comes out the other end with a wacky techno killer for peak time servings.

Review: Berlin Atonal returned two years ago from a long hiatus, 23 years to be exact. After three tremendous festivals this decade, they now present us with their first recordings since 1984. These particular ones from the 2014 edition. Cabaret Voltaire (in this incarnation featuring only Richard H Kirk) was a true highlight and contributes "Microscopic Flesh Fragment" and "Universal Energy". One half of Demdike Stare Miles Whitaker went solo, presenting his truly unique take on techno, and the slow burning attitude of "Vagabond No. 7" is evidence of this. New Zealand's Fis also appears; rather uncategorisable as always on "Dist CL (Atonal Version)." On the third disc we have Northern Electronics main man and modern auteur Abdulla Rashim presenting two commissions from his captivating atmospheric set that year. Limited to 700 copies.

Review: Aphasia finds Dutch producer Ekman return for a single release on Will Bankhead's expertly curated label The Trilogy Tapes after a sell-out debut turn on the compelling UAE concern Bedouin Records. The title track may confuse those Ekman fans seduced by the clutch of 2014 releases from the Dutchman that were defined by their guttural, frazzled take on electro as "Aphasia" offers a new sense of production clarity. There is a spectral feel that tends to distract you from all the little detail that makes up the production, though the epic, gauzy, lo-fi madness of "I Only Hit You 'Cause I Love You" is worthy of a Panzerkreuz release (shame about the title). "Rook" hits pretty hard too, with snapping hi-hats and a quite unpredictable lead acid line.

Review: Marcel Dettman's mighty MDR label doesn't offer a huge amount of releases every year, but what does get put out is always pure and utter quality. The Berghain resident pick out Ryan James Ford for number 17 in the catalogue, a young producer which we know little to nothing about at this point. We do, however, know that he makes seriously effective techno in the label's familiar style. There's five cuts spread across the two sides on here, all representative of Dettman's marathon sets in which he spans the full circle. Aside from all the techno bashings, there are also moments of tranquillity, manifested in the beatless ambience of "Hoodlam Klothe", and "Lempt Jarkarin", in particular. Do check "Rjiyen Orandim" for some serious percussive action, though. An impressive debut.

Review: Adam Beyer's Drumcode imprint has for around 15 years been the go-to label for peak time, up front techno on the harder side of things; and this is more of the same! Who better to start proceedings than Belgium's Marco Bailey throwing down a right stomper in the form of "Don't You Want Me" while Italy's Roberto Capuano gives us "Flashback", its infectious melody hypnotises you while its beat pummels you. New York City legend Victor Calderone serves up "Requiem" which is more minimal in presentation, working a vocal loop over a nice bass stab and those harsh, metallic snares. Finally Ian O'Donovan gives us "The Border" with its epic soaring strings, bleeping melody, dark stabs and funky bassline getting more on a progressive/tech house tip.

Review: Borft has been all about cutting edge electronic music since 1987 (!) and it is now with fellow countrymen Andreas Tilliander and Stefan Thir as Kondens, throwing down some well-crafted lo-fi techno yet hi-tech at the same time. The thumping toms in tandem with the overdriven kick of "Bug Miff" truly beat you into submission while "Manolito" is all epic acid that's got Tilliander all over it accompanied by Thor's relentless tom drum workout yet again. "For Whom The Bell" is the first track on the flip and it a more minimal and funker affair with a razor sharp bassline, rusty hi-hats and reverberated white noise hiss for extra sinister effect. Finally "Drinker Min Caf" is more pumping minimal with a rolling bassline, tight and shuffling rhythm section and trippy as hell zaps and bleeps flying all over the place.

Review: Rotterdam's Bas Mooy is no stranger to a bit of techno given his involvement in the European scene as a DJ since the late '90s and as a producer since the early noughties. He's appeared on countless labels including his own Audio Assault, the dread Mote-Evolver, Perc Trax, and even for the more recent Mord. The flying Dutchman returns to the latter with four guaranteed floor missiles, the first in the shape of grainy 4/4 beats and ringing melodies under the name "Men On Wire", a tune that's rapidly turned even darker and more pumping by the no nonsense AnD duo. Over on the flip, "A Feast For Crows" bangs its 909 away left, right and centre amid chilling walls of electrifying sonics, while "Nearby Silent Horses" channels that fury into a more compact techno bombshell for the peak time. Tough and driving.

Review: Utrecht imprint Something Happening Somewhere serves up four tracks of tough and reliable peak time techno cuts. First up "Quince" by Europa is a straight up, no nonsense DJ tool with all the right elements. Next up fellow Dutchman Stefan Vincent provides us with "How It Could Have Been" an ethereal and soulful journey track with its mesmerising melody leading the way. On the flip we have Kiani & His Legion with "St The Nation Hour" a more stripped and restrained cut with its tough beat and rising pad sound giving all it needs, but not before its snarling melody comes marching in. Lastly is Poly Nation with "Anther" that provides a total curveball, featuring impressive live acoustic drumming accompanied by an epic melody and swirling uplifting pads. It's something that you could imagine Laurent Garnier playing at peak time. Promising stuff!

Review: Australian label Butter Sessions is back with another one of its split releases, this time themed as Sounds From The Suburbs, adding two new faces to the roster in the process. Tina Wantirna drops some techno science on the chilling and dubbed-out "Track 1", while second newcomer Cale Sexton goes for the house approach on the piano-led "Everybody Hz". On the flip, label boss and badboy Sleep D offers a twisted piece of pseudo acid in the form of "Vermondo Vermango" - check his recent guest appearance on NTS Live's Reverie programme for a whole stack of similar new material from the man - and Dan White returns to the label with "Rhythm Works", a piece fit for Axis or any Jeff Mills set. Hotly recommended.

Review: Berlin's Klasse Recordings launched their new sublabel Klasse Wrecks last year to showcase some more adventurous styles beyond their usual endeavours and this new one by Phran certainly delivers. "Basical" starts things off in an exotic fashion with sampled monologue backed with bongo drums beneath smooth, dreamy keys. The broken overdriven kick on "Alberca" soon gives way to killer steel drums drenched in delay and a mesmerising melody. Samo DJ and Baba Stilts hand in a nice remix of "Basical" that's full of deepness too. On the flip we have "Ayoo" with its snarling, overdriven bassline and hissing metallic hi-hats getting all in your face, while "Handprints" gets deep again with its persisting harpsichord assisting a throbbing groove that brings in laser zaps, looped strings and a killer bassline.

Review: Tiga and Boys Noize have been in and out of each other's productions for years now, and if you cast your mind back to 2006 you'll find Alex Rida's epic remix to Tiga's "Move My Body". Boys Noize has appeared on various Turbo compilations over the years too, but now comes the collaboration we've been waiting for: "100". Naturally Tiga's semi-ironic vocals are laced throughout the track, while acid synths, throttled by a beefed up and jacking bassline, rock out to clashing hi-hats. And for some extra pulsating warehouse techno action, check out "Jam#1". Make some noise.

Review: House and techno contortionist Gilmer Galibard's debut on wax comes via London's prolific Lobster Theremin outlet, and we always keep a hawkish eye on new signings from the label. Galibard serves up four deep yet punishing cuts, with "Bell Blocker" dishing out the dubby techno, and "Brain Poacher" going for a more 90's techno swing complete with wailing bells and menacing beats. On the flip, "TTT" - possible ode to Will Bankhead's charismatic imprint? - is deadly and cold with its fuzzy swarms of sonics and 909 percussion, whereas "Unknown Touch" goes for a hypnotic approach, swinging its subtle distortion to and fro amid watery beats and grizzly low-ends.

Review: Another release from Spencer Parker's Work Them imprint. It's brutalist peak time techno from Manchester's Sam Coates, now based in Berlin and you can tell, if these four relentless belters are anything to go by. The A side features "Man Ray" a bleak, peak time monster that could have easily come out on Mord instead and "Movement' which channels that old grating, loopy, Downwards vibe so well. On the flip is the cyclical madness of "Ulterior Motive" with its mesmerising synth melody and kicks on the clap, respectfully referencing Robert Hood. Finally "Menifesto" is more restrained with its warped MDR style melody and true roller of a groove.

Review: Ewan Smith has been in good form over the last 12 months, delivering a couple of fine EPs for Aus Music. Here he returns to Will Saul's label with more late night business to tantalize European dancefloors. The title track sets the tone, with Smith expertly layering spooky melodies and crackly samples atop a subtle, cymbal-heavy groove. He ups the ante a little on "#1", with sparse melodies riding a thickset techno groove. Flip for the deep, tech-tinged house smoothness of "253 (Decent Mix)", and a blistering, carnival-inspired techno interpretation of the title track from Dario Zenker.

Review: Aside from one 12" on Mutewax Limited and a digital release for Sonorous Wave, Denise Rabe is still in her early days of production. Her first full-length official release comes courtesy of Holland's Arts Collective, an imprint which has seen outings by none other than Radio Slave and Dax J, among others. Her sound is minimalist but punchy and aggressive, and "Sunday Blues" is a perfect blend of calmness and aggression; the remix comes from the shadowy techno lurker known as Rrose, who transforms the tune into a bleeping banger without even a hint of mercy. "Berlin Knights" heads further down the wormhole, guided by echoing percussions and cavernous melodies, while "Ten Seconds To Hide" is faster, more penetrating and inherently eerie. One to check!

Review: Rotterdam's Mord continues with its consistent onslaught of peak time club destroyers, proving they really are the techno label of the moment! Who better to carry on the torch than the legendary Brendon Moeller, under his Echologist alias. In the past known for his dub techno explorations, these days known for relentless grooves. On the A Side there's "Shake Well" with its tunnelling melody, sinister synth squelches and monstrous kick drum ticking all the right boxes. "Inside Dimensions" is the absolute peak time weapon on this one, which tears the through the speakers like a post-apocalyptic steam train. On the B Side the mayhem continues with the sinister modular workout of "Lucky Bastard" as good as anything by Mike Parker or Steve Bicknell did recently, but the restrained energy of "Transformer" and "Penetration" provide equally worthy DJ tools for different circumstances.

Review: The 27th release on the admirable Where To Now? comes from Beatrice Dillon, whose Blues Dances cassette was one of the label's highlights of 2014. Opener "Face A" impresses from the off, with discordant, freestyle jazz horns and off-kilter electronics wrapping themselves around a hypnotic, dub techno influenced groove. "Face B" explores similar territory, stripping out some of the other track's elements to allow the wild saxophones and fluid groove more room to breathe. An odd but impressive EP is completed by "Sonnier (Walk In The Light)", a delightfully sparse, other-worldly fusion on bubbling beats, electronic pulses and occasional flashes of alien melody.

Review: Last year's Steffi album, Power of Anonymity, the subject of attention on this latest Ostgut Ton 12" as the Berlin label seek out two distinct acts to rework one of the long player's highlights. Named after a street Steffi Doms used to live on, "JBW25" is included here in original form for anyone that missed the aforementioned album and also offers first hand comparison to the remixes from Further Reductions and Answer Code Request. It's nice to see Brooklyn-based duo Katie Rose and Shawn O'Sullivan turn in their debut remix with a creeping, stripped down take on the track that bristles with the same sense of foreboding as their Cititrax LP of last year. Answer Code Request offers two versions which will appeal to the straighter techno heads out there.

Review: With this EP on Seattle-based Further Records, Mosam Howieson effortlessly joins the dots between creeping ambience, intergalactic IDM, and the growling intensity of experimental techno. For the most part, it's a becalmed concoction, with "Spiral 3", in particular, showcasing the kind of immersive, quietly dreamy ambience that takes great influence from the mixed-down rhythms and heavy bass of dub techno. "Spiral 4" is, if anything, even more inspired, with bubbling rhythms underpinning Howieson's impeccable chords and subtle melodies. Best of all, though, is "Spiral 7", which is blessed with the kind of intense melancholy that both stirs the emotions and demands repeat listens. Impressive stuff, all told.

Review: With two releases to his name on the label already, London producer Snow Bone could be considered a Lobster Theremin regular. This third 12" continues in a similar vein to previous outings, delivering a mixture of heavy, Robert Hood-inspired rhythms, stargazing electronics, and delightfully redlined rhythms. There's naturally plenty of impressive material to enjoy, from the thunderous kick-drums and looped bleep melodies of "Cult V", to the Skudge-like distorted techno-funk grooves and vintage rave stabs of "Lost Ancient Language". Best of all, though, is the title track, whose modem dialer melodies and throbbing electronics prove the perfect foil for Snow Bone's jumpy, metallic rhythms.