DJS: MOST CHARTED - TECHNO - MOST CHARTED IN MAY 2016

Review: A taster for Robert Hood's second Floorplan album, this EP puts a spotlight on the radical nature of his musical transformation. On "Music", the visceral rhythms of techno minimalism are gone; in their place is a rolling, tracky groove that boasts a repetitive vocal loop and which has shades of classic Relief /Derrick Carter. "Tell You No Lie" is even more impressive. It sees Hood use a gospel vocal over a stomping, funk guitar-sampling disco house workout. There is an audibly religious dimension to "Tell You No Lie," but Hood's knack for writing a great tune means that it sounds celebratory rather than self-indulgent or preachy.

Review: DJ Deep is back again, does this man ever sleep? After Sergie Rezza and The Adventist projects with partner in crime Roman Poncet, not to mention running Deeply Rooted and being such an in demand DJ after over 20 years on this scene: he's a right powerhouse. Cuts Volume 2 maybe a blunt name but there's no mistaking the blatant utility of this release: fully functional techno tools for maximum dancefloor impact! "Stressed" sounds like an excerpt from one of Jeff Mills notorious 909 drum solos while on the flip "Stressin'" chugs away in stripped yet hypnotic fashion with equally tough rhythms. Second B side cut "Surge" is the most restrained but probably our favourite, reminding us of the steely and infectious funk grooves of early noughties Neapolitan techno. Tip!

Review: Graham Wilson and Domenic Cappello's Seventh Sign Recordings label has truly developed into a bastion of quality electronic music over the 15 years it has been active, calling on some highly-respected artists for contributions. Dan Curtin ranks up there with the best of them, with the Cleveland native a key artist in shaping the techno sound and much more! The recent revival of his Metamorphic label seems to have inspired a new wave of creativity in Curtin, demonstrated on The Waters Of Mars, this five track 12" of hardware driven, organic techno that ripples with future thinking intent and no small degree of propulsive intensity.

Review: Stenny has been one of Ilian Tape's most reliable and prolific artists over the last few years. Consume IV marks his fifth appearance of the Zenker brothers' imprint, and sees him joining the dots between hardcore-era breakbeat house, techno and UK garage. Opener "Lights On" brilliantly fuses together loose rave breaks and spacey deep house chords, while "Consumer's Tool" is a bumpin' garage roller complete with skipping New Jersey beats and bass-heavy British attitude. Stenny heads back towards standard techno territory on the heavy and hypnotic "Scanner", before breaking up the beats once more on the bruk-goes-to-Detroit-via-Sheffield loveliness of "Westward".

Review: Irreverent online music platform Ransom Note have been keeping the spirit of Jockey Slut well and truly alive in the digital age since 2009. Sensing that house and techno is currently lacking in labels characterised by a sense of humour, Ransom Note have decided to launch their own with the debut offering from Madrid based mystery producer Bawrut. Originally released digitally through local Madrid label Silencio last year, it is good to see "Ciquita" and "1234" make it onto 12" here with the former presented in slightly amended form via a R$N edit. If anything the rambunctious acid delight of the track is embellished further on this killer edit, which is complemented nicely by the mind bending vocal edits of the flip.

Review: To coincide with the twenty-fifth anniversary of Berlin club Tresor, Juan Atkins and Moritz Von Oswald have released a second Borderland album together. It begins in ominous mode, with the title track's brooding bass tones casting a long, dark shadow, but the pair soon find a way to break away from the gloom with the mesmerising chords and heavy rhythm of "Lightyears" and the wonderfully spacey Detroit techno of "Riod". Both "Odyssey" and "Merkur" push the tempo back down but keep an emphasis on hypnotic, woozy textures, snappy drums and jazzy tones, while "2600" shows that Van Oswald hasn't lost his ability to craft dub-heavy, dreamy techno.

Review: Brooklyn based DJ, former music journalist at Little White Earbuds and now producer making his debut on San Francisco's acclaimed Honey Soundsystem: it's Justin Cudmore delivering "Crystal" a dirty, dusty and downright jackin' 303 acid journey that's just made to play at Sunday night up at Panorama Bar. On the flip are two killer remixes, first up by Bunker NYC resident Mike Servito whose "730 Reshape" coats the track in good layers of dust and rust for properly convincing vintage tape reel flair. Finally, Gunnar Haslam's "Dekalb Avenue Mix" keeps the gritty retro aesthetic intact but bumps up the tempo for peak time headrush, Chicago circa 1988 via Brooklyn Heights.

Review: "The Links EP is Blackhall & Bookless' latest outing for their increasingly renowned Jaunt Records imprint. A highly personal release, the EP is a homely affair, celebrating the boys' upbringing in Whitley Bay with a gusto that's indicative of the area's unique charm. "Links" serves up a dreamy, atmospheric landscape - and one that reflects the location around which the EP is titled. Don Williams' interpretation goes down the rabbit hole further still, teasing the listener thanks to a range of slashing echo chords and clever sub bass techniques. The duo's second original is "Vision", aAdark techno jam that manifests into a stunning tribal hypnodrome.AClosing out the EP is "Cognition", another highly atmospheric track that keeps the listener locked thanks to its many dexterous capabilities. The striking artwork, meanwhile, showcases a black and white image of where the pair would hang out as teenagers. In that essence, the image echoes their production style, with the two sides of the links joining at the bridge and working together in unison. JR004Ais dedicated in loving memory to Ian Blackhall."

Review: The UK's newly inaugurated Future Primitive label holds a candle to its name by unearthing two Leo Anibaldi productions from deep within the Roman's voluminous back catalogue. The two-track 12" debut sees Anibaldi provide the label with a contemporary 'Stretched Edit' of 1994 production "Fusion 1", a cut lifted from the Aeon EP originally released on the now defunct Italian label, ACV. Future Primitive has also given ambient number "Evocation Part II" a full remaster and B-side privileges, honouring an esoteric production from Anibaldi's Void LP that was originally released on Aphex Twin's Rephlex label in 1996.

Review: Glasgow imprint Dixon Avenue Basement Jams are really on a roll at the moment aren't they! After some great releases by the likes of Casio Royale and Big Miz they now present the return of Detroit producer Jared Wilson, who last appeared for the label back in 2012. The Communing With Ghosts EP features "Pheo Acid" which is a dark and epic 303 excursion that will no doubt appeal to hardcore fans of the classic Chicago sound. "Acid River" (getting the theme now?) is more restrained with the relentless squelch of that little silver box, but still pumps along at a nice pace. On the flip we've next got "Smartbar Acid" which we really can imagine sounds like a night up at the infamous Windy City institution. Finally the title track might break the pattern of names thus far but not the sound (thankfully) and it's definitely the most high octane acid track on here that would make even DJ Pierre himself stand up and notice.

Review: Given the talent involved, you'd expect this collaboration between Detroit veteran Keith 'K-Dub' Worthy, Steven Tang and Jamal 'Hieroglyphic Being' Moss to be rather special. Predictably, it's excellent. The A-side boasts two versions of "Rarefied Air" from Worthy, who delivers nothing short of emotion-rich Detroit techno brilliance, complete with bouncy synth bass, swirling deep space melodies and restless percussion. The Dub, in particular, is superb. On the flip, Moss makes the track raw and uncompromising, layering twisted acid lines atop a thumping, tribal techno groove. Tang closes proceedings with a version that sits somewhere between the two schools, placing a long spoken word vocal sample atop mind-bending electronics, spacey chords and hissing percussion.

Review: Vivod move into their next series of releases with Portuguese maestro Photonz at the helm. A 4 tracker of dark house that effortlessly slip into the label catalogue entitled Lotus Wheel On My Orion. Beautiful packaging again this time with full printed sleeve.

Review: More than any other UK techno producer, Luke Slater has remained at the cutting edge. This is partly due to his ability to make forward-thinking music, but as this new series demonstrates, he also possesses an uncanny knack for pairing off with other inspired artists. "Gated" is vintage PAS material from the 90s, its distorted rhythm lent a housey bias here thanks to Ben Sims' superb remix. It's hard to believe that "Dungeon", available here in its original format, dates back to 1997, as its bleepy, tunneling groove and its 'swarm of bee' hums make for exactly the kind of hypnotic sounds that many modern producers try - and fail - to emulate. Completing this excellent release is a dry, tribal version of "Dunegon" by O [Phase] from Token.

Review: Since debuting on his Taapion Records imprint back in 2013, Shlomo has delivered a succession of quietly impressive, abstract techno EPs. The Delsin crew were clearly fans, as they've asked him to deliver a series of 12" singles under the In Absentia title. This first 'tome' opens with the icy techno throb of PVNV hook-up "In Absentia", before diving headfirst into darker waters via the rubbery electronics, hushed textures and relentless bottom-end thump of "Escape From The Void". There's a strangely grandiose feel to "Poison River", where dub techno style sonic textures ride a thunderous techno groove. A fine EP reaches its' conclusion with Artefakt's hustling, slow-burn remix of the same track.

Review: This is Athens-based DJ and producer Morah's second release, following an outing last year on Helena Hauff's Return to Disorder. It certainly lives up to its title. "Anarchy" itself uses a very simple ploy of pitting lo-fi drums against screeching, angle-grinding noise, but it proves to be deadly effective. "Impasse" is more bugged out, with chattering sound scapes playing out over a wiry rhythm, while Morah explores a sound not too dissimilar to Gesloten Cirkel on the grinding, wind tunnel techno of "You Say No". As a counterbalance to these wired dance floor tracks, Morah diverts to deeper tracks for the sub-aquatic ambience of "Looking Back".

Review: Call Super first met the Dekmantel crew last year, one of many high profile DJs to play their summer festival in Amsterdam and it wasn't long before the esteemed Dutch imprint asked him to supply them with an EP. Impressively, Nervous Sex Traffic is one of his strongest 12" singles to date - no mean feat given his track record - with the title track, in particular, delivering thrills in spades. Stretching out over nine mesmerizing minutes, it overlays snappy, analogue-sounding beats and cowbell hits with alien bleep melodies, synthesized horn stabs, rich bass, and pads that recall Pet Shop Boys' "West End Girls". It's a melodious, eyes-closed treat, all told. Flip for "Mount Grace", a deeper, more metallic affair that draws inspiration from vintage Detroit techno, blissful electro, and the morning-after confusion of ambient house.

Review: Those with an in-depth knowledge of house music's fringes may already be familiar with L.A-based Brazilian Jesse "Dreams" Pimenta. Previously, he's released solid, off-kilter fare on Trax Couture and the Private Selection Records imprint he launched back in 2013. Here, he's given a chance to showcase his productions to a wider audience via cult label Nous Disques. The EP's various tracks explore a number of avenues, from the wonky acid hypnotism of "Off The Grid", and drowsy deep house dustiness of "Night Cap", to the White Material-ish analogue techno throb of "Chain", and the crystalline chords and bouncy bottom-end of "Red Veil".

Review: Crete's Lena Platonos is a Goddess of the piano, and her illustrious career spans over thirty years. Having reissued the excellent Platonos album Galop last year, Dark Entries return with another dose of Lena goodness, transforming her gentle harmonics into dancefloor bliss. The culprits are Tel Aviv's Red Axes, who start their thrashing by moulding "Witches" into a deep, sleek, and masterfully contained groove featuring the artiste's vocals at the helm - perfectly detuned and distorted. "No9" is a broken shred of steely drums and bass, while "And We Hear I Love You" goes for an industrial approach, and "Liqueur Ruby" for the lo-fi and mystical. Warmly recommended.

Review: Cititrax's first Tracks 12" sampler did a good job in showcasing material from some of the Brooklyn-based label's favourite contemporary producers. This follow-up, arriving only a few short months after the first, aims to do the same. Returning for his second appearance, Tsuzing kicks things off with the razor-sharp shuffle of "Nonlinear War", whose intoxicating electronics and wild synth lines recall Brown Album-era Orbital, before London-based L/F/D/M takes a trip into bleak techno territory with the acid-laden "Mouth Holes". Flip for Silent Servant's deliciously grandiose, muscular electro-disco workout "The Touch", and the clanking industrial percussion, EBM attitude and humming electro beats of Maelstrom's "Lithium".

Review: UK house king Mr G is always a pleasure to hear and write about. That's because his own personal variety of house music is just so damn lively, upbeat and, well.. fun. He is back on Bass Culture after a lengthy hiatus from the French label, but "Transient" is a masterful return to the imprint thanks to a deep, grainy rhythm with a glorious cascade of percussion. "Crumple Zone" on the flip is darker and less welcoming than its predecessor, but the old-school b-boy still manages to get that trademark Mr G vibe into the arrangement. Solid house music, as per usual.

Review: Having spent much of last year cutting up hazy acapella vocals on the sublime Sintetizzatrice full-length on Spectrum Spools, Donato Dozzy returns to the dancefloor with a fine collection of techno workouts. He begins with the deep and sleepy riffs and shuffling rhythms of "Aurrora", before heading into tribal territory with the bass-heavy percussion workout "Ritmica". As its' title suggests, "TechTresor" is a rolling tribute to Berlin's longest-running techno club, while "The Drunken Ghost" is accurately named. Sitting somewhere between electro, techno and odd electronica, its' curious melodies and weird effects sound strangely like a ghostly figure stumbling around and knocking over furniture, while looking for its' next fried chicken fix.

Review: Following hot twelves from Max McFerren, Bryan Kessler and Pedder Mannerfelt, Ultimate Hits has recruited cantankerous house jam maestro Willie Burns to produce its' latest EP. Burns predictably delivers, with jackin' electro/techno opener "Bang The Box" sounding like a ready-made dancefloor banger. "Got To Be" is deeper but no less potent, with soulful vocal snippets riding a bass-heavy groove, while "Checking Heart Rate" sees Burns successfully combine one of his favourite vintage house breakbeats with dreamy pianos and sweaty vocal stabs. Finally, he steps away from the dancefloor with "Where Has The Love Gone", a trippy, late night affair full of rumbling dub bass, soft-touch percussive hits, new age pan pipe melodies and head-in-the-clouds vocal samples.

Review: Here's a pleasant surprise! Jimmy Billingham bringing his distinct brand of drawn out, emotive acid as HOLOVR to the good ship Firecracker. HOLOVR has largely been restricted to the digital or cassette format, yet last year's Line Of Flight LP for Billingham's own Indole label proved what we always thought; it's music you want to hear booming out of a pair of turntables in a club! The Trace Realm EP, another thing of visual beauty thanks to House of Traps, continues in this vein with opening track "Transient Field" a real highlight along with the spoken word-blessed lysergic drift of closing track "Corporeal Crust (Cthelll Core)".