Review: Following a string of explosive releases on labels like Acid Artists In Action (Triple A), Stay Up Forever, Hydraulix, and Interruption, ACERBIC is raising the stakes with a colossal triple-vinyl, limited-edition LP on the SUF/Hydraulix collaboration label. Packed with nothing but high-energy, dancefloor-destroying cuts, it kicks off with the anthemic 'Acid Way Of Life' and powers through a relentless selection of techno and acid techno bangers that push the boundaries of both genres. No filler, just pure, peaktime fire. Already road-tested by scene legends D.A.V.E. The Drummer and Chris Liberator, this one is sure to rip up rulebooks and dancefloors alike.
Review: Ross Alexander debuts on Yore and brings with him a more tech-leaning sound that you might expect of this traditionally techno-centric outlet. It still calls on plenty of Motor City signifiers, however, such as warm synth soul, machine grooves and a dusty depth. 'Soul Roots' has all that and a cosmic melodic air, 'Cycles' gets more twisted with a pressurised baseline and drums full of rebound while 'All I Need' sets off on freewheeling, psychedelic pads and serene grooves that carry you away in a reverie before 'Reflections' shuts down with twinning cosmic pads and gurgling low ends. A classy and escapist EP of futuristic bliss.
Review: Bastian's early work on Berlin's iconic Acid Orange sublabel, Tanjobi Records, is a hidden gem that's now resurfaced with serious buzz. This debut release has become increasingly rare and often gets snapped up online by crate-digging heads who rediscover its charms more than a decade on. Channelling the spirit of Khan and the legendary Cologne crew, each track is a masterclass in stripped-back, acid-laced techno minimalism, which is why it's now getting the flowers it always deserved-pure underground gold with title cut 'Centre Fold' being a particularly well-crafted mental and physical workout.
Review: Way beyond its New Beat roots, Boccaccio was one of Europe's most influential clubs and known for operating at the cutting edge of house, techno, acid and beyond, and for shaping a distinct sound that defined Sundays in rural Destelbergen. Curated by Olivier Pieters and Stefaan Vandenberghe, Boccaccio Life 1987-1993, released by Belgian label Music Man Records, captures the raw energy of a scene ahead of its time. Four VA Eps from it bring the tracks to wax and this one has four seminal US artists at their most visceral and impactful.
Review: The man behind legendary London underground techno bash Lost, Steve Bicknell is back on KR3 with a nine-track LP that helps mark the label's fifth anniversary. Bicknell delivers seven of his raw signature sounds here and they combine the physical drive of techno with plenty of heady and atmospheric pads, all of which are frazzled, dusty and imperfect across four sides of wax. The first three are all intense and unrelenting deep techno odysseys with shadowy corners and unsettling sounds that bring a menacing presence. Side D shifts the tone with a 15-minute ambient piece that is tribal, luminous and meditative with cosmic signifiers and deep space energy, all keeping your mind locked in the moment.
Spectrums Data Forces - "Darkness In My Head" (6:04)
EC13 - "Profundo" (Interludio) (0:49)
Wicked Wes - "X1000" (feat Space Frogs From Saturn) (5:48)
Review: Granada's Cosmic Tribe know the definition of "electro" in its broadest sense; their new Xtrictly Electro comp keeps the dystopian sound endemic to the genre's most present incarnation, but refuses to restrict itself to one tempo: the standard 130-ish that has sadly infected the otherwise genius genre as a necessity. An international splinter cell of spec-ops and mercenaries are recalled from retirement here, as we hear Calagad 13, Nachtwald, EC13 and many more mechanoid ilk lay down all manner of slick utilities, making up a morbid multi-tool. 5zyl brings further lasery Lithuanian steeze on 'Vilnius Bass', whilst Spectrums Data Forces betrays the existence of a sinister corporate entity, whose business model works towards the object of instilling 'Darkness In My Head' through giant, killer mozzy basses.
Review: French label Cairo Xpress debuts with a first-ever vinyl outing and a fine one it is too, with six stylish house outings from an array of fresh talents. Wilt's 'Beoyon' has lovely gloppy drums and bass looping under harmonic chords - it's simple but effective. Hermit gets more full-bodied with his textured 'Who Dunnit' and DOTT strips it back to bumping drum track workouts on 'Twitching Softly.' There is more irresistible bounce to Lucho's 'Mesh', Artphorm layers in some old school pianos to 'Daown' and HATT D shuts down with maybe the best of the lot, 'Contrasts In Life,' which is a broken beat, analogue sound with celestial energy.
Happy707 - "Where Does That Noise Come From" (4:28)
Review: Menacing EBM and dark synth billows from a Netherlands hinterland; our heralds speak of an esoteric encampment by the name of Espectro Oculto, said to be the remote incantators of an unstoppable curse in sound. Six shadowy emissaries have been sent to spread the pestilence; Trenton Chase, Martial Canterel, DJ Nephil, Exhausted Modern, Fragedis and Happy707. Clearly, the faction have recruited only the best, trusted and yet most nefarious of spies from as far-flung regions as Czechia and Argentina in the administering of such a sordid sonic plague. We're left most quivery at the centrifugal doom drones of Exhausted Modern's 'Fear Of Focus', across whose breakdown banshees are heard wailing and snarling, and Fragedis' 'Landing In Reality', a lo-fi techno freakout and sonochemical anomaly, channeling militant two-way radio samples and hellish FM synthesis.
Review: Astonishingly, 33 years has now passed since Cleveland native Dan Curtin made his bow via Detroit imprint 33rpm Records. More significantly, it's been 15 years since the storied techno and house scene stalwart last released an album - making this surprise excursion for Belgian imprint De:tuned a genuinely big deal. Those familiar with Curtin's spacey, far-sighted and frequently funky take on techno will know what to expect: think infectious, classic-sounding Motor City techno rhythms overlaid with funky basslines, warming chords, intergalactic-sounding lead lines and a healthy dose of electronic futurism. The myriad of highlights on show includes the densely layered tech-funk of 'Moral Imagination', the future purist techno anthem 'What of Lazarus', the melodic and jazzy headiness of 'Trust Blind' and the sub-heavy downtempo shuffle of 'Transformations'.
Review: Dan Curtin has been serving up genuinely far-sighted techno productions since 1992. While he's nowhere near as high-profile as he once was, Curtin is still capable of delivering dancefloor magic - as The 4 Lights, his first album in 15 years, emphatically proves. Those familiar with Curtin's spacey, futuristic and frequently funky take on techno and electro will know what to expect: think infectious, classic-sounding Motor City rhythms overlaid with funky basslines, warming chords, intergalactic-sounding lead lines and a healthy dose of electronic futurism. Curtin predictably hits the spot throughout, with highlights including future techno anthem 'What of Lazarus', the melodic and jazzy headiness of 'Trust Blind' and the sub-heavy downtempo shuffle of 'Transformations'. If that's not enough to seal the deal, this limited-edition version comes pressed to striking clear and black marbled vinyl.
Review: Since emerging from Thessaloniki's underbelly in the mid-2010s, Endlec has carved out a reputation for punishing, no-frills techno rooted in the discipline of the 90s. A regular on Mord and MindTrip, he's long been a reliable source of dancefloor artilleryibut this one marks a shift. Self-released on his Renegade Methodz imprint, this debut album spans a full decade of experience, pulling together tracks made between late 2023 and October 2024. 'Omicron' and 'Clockmaker' are classic Endlecirelentless and tactileiwhile 'Sunday To Monday' and 'In Negative' draw from a deeper well, brushing up against melody and restraint. 'Mechanizer' grooves with mechanical tension, and 'No Return' rides a punishing loop without ever losing momentum. More refined than anything he's done before, it's a brutalist record with emotional depth, capturing an artist at a point of hard-won maturity.
Review: Hungarian electronic music producer Laurine Frost's Cabaret Nord lands as the debut release on Spanish label Andermedt, and it's nothing short of a radical statement. A vault of unreleased material over five years in the making, it's a return to Frost's 4/4 roots but filtered through his signature lens of dark mysticism and surreal funk. Earth-shaking drums, warped grooves and grotesque theatrics unfold like a ritualistic performance in each track as he twists techno cliches into something deeply personal. As such Cabaret Nord blurs lines between satire and sincerity, rhythm and poetry. It's not comedy-it's an avant-garde theatre of sound and a mind-bending triumph that demands immersive listening.
Review: Two standout tracks from Priori's This But More get a stripped, emotional rework from Loidis, which is of course the introspective alias of Brian Leeds aka Huerco S. and Pendant who is known for his minimal, textured approach. Here, Loidis stretches the originals into hypnotic, slow-burning explorations. The rhythms remain intact but feel deeper, warmer, like echoes from a distant rave. It's dancefloor music in slow motion: eyes closed, head lost in the groove. These extended versions don't just remix, they reimagine while blurring lines between ambient and club, motion and stillness. It's a compelling fusion of restraint and rhythm, perfect for late nights and deep-listening sessions alike.
Review: Brenda's debut for Rupture LDN is a love letter to the dancefloor in all its phases, from early anticipation to late-night transcendence. Hailing from the UK and embedded in the country's long rave lineage, she draws on 4x4 jungle techno, deep d&b and spoken word to map out a personal and emotional arc. 'Come Undone' captures the energy of the night in full swingirushing breaks, euphoric pressure, the kind of track that commands the room. Elsewhere, 'Benda Brenda' and 'Total Danger' are raw-edged and jungle-rooted, while 'Rolling With Fabio' is deeper and more rolling. It all closes on 'A Deep Shade of Rave (Outro)', a poem dedicated to her long-running Ferry to the Underworld sessions at Corsica Studios. Spiritually full, physically rinsedithis EP nails what it means to live for the rave.
Review: Two decades deep into his career and still pushing forward, this seasoned German DJ delivers something that feels both timeless and fresh. The original version of 'Kingston Riddim' is a smooth, sun-soaked affair. Drawing from island dub but built with a crisp, modern hand, the track is full of warm organic textures and laid-back swing. The chords are clean and expressive without feeling too polished. There's a breezy confidence to the groove that makes it feel effortless. It's the kind of track that could slip into any set and feel right at home. Sato's interpretation dives into deeper territory. The bass rolls in thick and heavy while the chords get more tangled and echo-laced. There's a submerged quality here, like the track has been dragged through deeper waters. It's moodier than the original but still carries that same rooted sense of rhythm. This is one of those rare records where both sides hit in different but equally effective ways.
Review: Neil E and Big City Bill's latest doubles as the second offering from Spincycle, yet another a split 7" single on 180g vinyl. The twins' journey began two decades ago high up in an unnamed mountain range, where they met, after which they descended onto the city in search of purpose. Thus spake Zarathustra: down below, they toiled away in dimly lit garages, decoding mysterious symbols cast on walls by home-gaffed fluorescent lights. At first, their work seemed like madness, but there comes a time in every madman's life when toil leads to breakthrough. Thus were sowed the two fine harvests you hear here: 'Dry Rub', with its tugging taut sound design, and 'The BBV', a mistier firmament of altitudinal unknowns. No need to map out the terrain first - just give in to your ears.
Review: Owen Ni invites us on a sonic exploration with this ten-track release, a journey through the realms of ambient electronica and deep listening techno music. 'Beyond Flyhigh' sets the tone, its expansive soundscapes and hypnotic rhythms drawing the listener into a world of introspection and wonder. The Raytek remix injects a pulsating energy, transforming the original into a dancefloor-ready odyssey. Elsewhere, tracks like 'Mover' and 'Arqs2600' delve deeper into hypnotic textures and intricate sound design, creating a sonic experience that's both arrestting and thought-provoking. 'We Are Here' and 'S7lverbox' offer moments of quiet contemplation, their delicate melodies and atmospheric soundscapes inviting a sense of peace and reflection. The release closes with 'Epilog', a fitting conclusion to this immersive journey through sound and emotion, leaving the listener with a lingering sense of wonder and possibility.
Review: Recorded live on September 10, 1993, for BBC Radio 1, this set strips back the studio polish in favour of raw, surging energy, breathing new life into core tracks from their Brown Album era. Their explosive 1993 John Peel session was a broadcast that captured the UK rave pioneers at their most visceral and unfiltered. The versions of 'Lush 3-1', 'Walk Now...' and 'Semi Detached' found here are looser, leaner and more urgent. 'Lush' in particular throbs with a relentless momentum, shedding its original texture in favor of a tougher, more improvised drive. It's a perfect showcase of Orbital's gift for live manipulation, transforming structured studio pieces into kinetic, spontaneous soundscapes. This reissue boasts newly commissioned artwork by Intro and aligns with the legacy of the Peel Sessions as a proving ground for boundary-pushing talent. Critics and longtime fans have praised the EP for its intensity and fluidity, supporting Orbital's status as live innovators. Radio Sessions is a nostalgic artifact and a reminder of how thrilling and forward-thinking Orbital's sound was.
Review: UK electronic innovators Orbital have been revisiting their early roots with Orbital LEDs, a limited-edition series remastering their old greats. Now fully remastered and paired with striking new artwork by Julian House, the latest drop highlights the duo's groundbreaking early sound when tracks like 'Midnight' innovated with a blend of hypnotic house rhythms and minimalist influences from Philip Glass and Wim Mertens. Also included here is 'Choice' which stands out for its anarcho-punk edge and bold vocal sampling. Paul Hartnoll has often said he aimed to inject house music with a sense of rebellion and social commentary and these reissues reaffirm Orbital's ability to do that while pushing boundaries from the start.
Review: A cornerstone of early 90s electronic music, Orbital's Lush resurfaces with renewed energy through the Orbital LEDs reissue campaign. Originally released in 1993, the EP is a masterclass in melodic techno, featuring the iconic 'Lush 3-1' and 'Lush 3-2', two seamlessly interwoven tracks that exemplify the Hartnoll brothers' knack for crafting emotionally resonant, rhythmically complex soundscapes. Reissued on 12" with striking new artwork by Intro, this edition includes heavyweight remixes by Underworld and CJ Bolland, whose reworks push the tracks deeper into the club stratosphere. Underworld brings a dense, propulsive momentum, while Bolland injects a sleek, hard-edged urgency. Yet it's Orbital's originals that remain the centerpiece. Those epic gliding arpeggios, layered synths and rolling percussion conjure both introspection and euphoria. A vital part of their Brown Album, Lush helped define the progressive techno movement, influencing generations of producers. Three decades on, the tracks still pulse with a timeless vibrancy.
Alice D In Wonderland - "Time Problem" (Techno Speed Work) (6:51)
Review: Belgian label Music Man Records continues its deep dive into local club history with a standout 12" drawn from a wider retrospective on Destelbergen's legendary Boccaccio club. This release centres on the early house and techno that defined its Sundays-an alternative narrative to the better-known New Beat story. The A-side opens with Steve Poindexter's 'Computer Madness', all skeletal drum patterns and jacking minimalism, before UK crew Age Of Chance explode with 'Time's Up (Timeless)', a proto-rave anthem remixed into cut-and-paste chaos. On the flip, LFO's self-titled 'Leeds Warehouse Mix' drops like a techno blueprint-bleep-heavy, bold, and unmistakably northern. Closing the set is Alice D In Wonderland's 'Time Problem (Techno Speed Work)', a hyper, squiggly take on acid techno that feels like a high-speed trip through late-80s futurism. With selections curated by Olivier Pieters and Stefaan Vandenberghe, this 12" captures the rawness, friction, and thrill of a scene that still resonates across Europe's underground.
Review: Belgian label Music Man Records has assembled Boccaccio Life 1987-1993, a 40-track compilation honouring the legendary Destelbergen club that helped shape Europe's electronic underground. Far more than just the birthplace of New Beat, Boccaccio championed raw, futuristic house and techno long before the genres went mainstream. Curated by resident DJ Olivier Pieters and regular Stefaan Vandenberghe, the collection features classy cuts that are also being served up on a series of VA EPs. This one hits hard with jams from QX-1, Fred Brown, Mr. Fingers and Laurent X all going dark, deep and moody.
Review: London underground night train riders Deadbeat Records prioritise techno-breaks handmade for late night and early morning dancefloors, times when both the best and worst comes emerges from each of us. Their inaugural Deadbeat Breaks compilation hears six out of ten full digital curations brought to a shadowy, space-invaded black vinyl truncation, with modern talking synth vomits from Olly Rant, booty bass hups from Hunter Starkings, hackney parroting hurtles from Rnbws, and a closing breakstep broil from Hooverian Blur.
Egotrip - "Dreamworld" (World Of Dreams mix) (7:25)
33 1/3 Queen - "Searchin'" (5:43)
Bobby Konders - "Let There Be House" (5:14)
Review: Boccaccio was one of Europe's most influential clubs back in the late 80s and early 90s. Based in rural Destelbergen, it was a place where new beat, acid, techno and house all collided, and Boccaccio Life 1987-1993 is a deep dive into the electrifying soundscapes of the time. It comes on Music Man Records and is a 40-track compilation that reclaims Boccaccio's legacy beyond the overly reductive new beat tag. Resident Olivier Pieters and club regular Stefaan Vandenberghe are behind it, and have split the full selection into four vinyl parts. Bobby Konders's 'Let There Be House' is the killer here, but all four cuts are deliciously dark and heads down club tackle from a golden era.
Review: Rick 8 is the techno alias of Italy's Riccardo Falsini, and here he revives the pioneering spirit of his iconic Interactive Test label with this early gem, which offers an essential slice of trance, techno and progressive house history. Known for reshaping genre boundaries, the label was a beacon of innovation, as this EP shows. Each track is a potent club tool, designed for transcendental dancefloor moments and sonic ascension from the chunky tribalism of 'Hypernotes Velocity' to the standout remix of 'C'Mon' by Sound Metaphors affiliate Trent, who injects progressive firepower. 'Born To Sinthetize' is a deeper, spiritual sound with flashy synth work married to loose drum loops.
Spectrums Data Forces - "Form 900" (Umwelt remix) (5:32)
C-System - "Mind Restore" (5:48)
7H3F4M1LY - "7053M4R14" (6:20)
Review: "Emergency protocol activated. Evacuate your homes and immediately go to the bunker for your safety. The invasion has begun!" Spectrum Data Forces makes a blistering return to New Flesh, fifteen years after first touching down on the label with Exodus and Reencarnacion. 'Trinity' hears Jose Maria Moreno Vega reshuffle his arsenal, securing salted-earth electro and mecha-funk fallows across four tracks and one remix. 'form900' launches the A in full arpeggiated mode, its high-velocity synth lines and crunching drums lensed through SDF's retrofuturist sound-and-vision. Umwelt tears into the remix with typical ferocity, twerking analogue gnarls into a thumping, break-laced payload. On the flip, Moreno dons his C-System alias for 'Mind Restore', a pummelling techno cut streaked with eerie pads and flecks of IDM. '7H3 F4M1LY', finally, under the 7053M4R14 moniker, hears the whole crew round things off in wiry, off-grid style.
York - "The Wave (Is Coming)" (Back To The Roots extended mix) (7:57)
Talla 2XLC - "The Wave (Is Coming)" (extended mix) (7:09)
Review: Talla 2XLC and German composer, producer and songwriter Torsten Stenzel (who is still best known for his work as YORK) revive the 1997 trance classic 'The Wave' by Sosa with a big new remake that realigns it with contemporary sounds. Landing on bright coloured vinyl via Technoclub Retro it has two extended mixes that reignite the energy of the original with brilliantly euphoric flair. On Side A, York's 'Back to the Roots Extended Mix' has already been getting heavy plays in clubs and on festival stages around the world with its high-octane melodic rush an utter thrill when played nice and loud. Side B brings an exclusive new remix by Talla 2XLC that is only available on this pressing.
Review: Alien D is the NYC-based producer Daniel Creahan, and he's back with a debut on Theory Therapy that taps into widescreen worlds of techno immersion. Departing from the ambient abstraction of his previous work, this album as a subtle kinetic pulse with tracks like 'Soil Dub' and 'Sleepy's Gambit' propel listeners forward with dubwise rhythms crafted for deep dancefloors. The album builds on an infectious, steady groove with repeating phrases and subtle shifts that keep the music in constant motion. Conceived in the first days after the COVID lockdown, these sounds exude a hopeful quality and capture the transcendent moments of early-morning parties when the moment is full of unbridled hope for what might come.
Review: Turin-born and raised artist Andrea has explored plenty of different genres across his wonderfully experimental sounds, but mostly they are couched in techno with hints of 90s breakbeat and IDM. "Living Room is his third album and finds him tapping into an introspective sound with reflective melodies and a cosmic sense of travel. Right from the off, you're cast adrift in a world of shimmering melody and plucked strings, cascading arps and widescreen synthscapes and it is there you stay for the whole absorbing duration, though sometimes lithe rhythms bring more propulsion. A magnificently accomplished and detailed work.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Signals
Shadowspace
No Closer Than The Moon
Landfall
Zonal Prospect
Air Foundry
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The Frequency Domain label has been quietly issuing some of the most compelling electronica of recent times, with a staggering cast of characters including Anthony Child, Bass Clef, Luke Sanger and more delivering more introspective, experimental material over the past couple of years. Now it's the turn of Apologist, a lesser-known project from Brendan Nelson which manifested in one 7" back in 2006. If you appreciate dreamy, slightly dubby electronics which move through different moods and scenes without getting you up off the sofa, this is the perfect trip. Many layered, richly rendered and full of grit and personality, it's the kind of record you'll discover new secrets in every time you visit.
B-STOCK: Sleeve damaged and dirt on sleeve but otherwise in excellent condition
Space Rock (9:33)
Give Contact (5:57)
Deadline (7:50)
The End Of Rain (5:39)
Sputnik (9:16)
Eyes In The Sky (10:58)
Review: ***B-STOCK: Sleeve damaged and dirt on sleeve but otherwise in excellent condition***
Next up on Outer Place Records is the fifth installment coming from the vault of Meister Bert Ashra, a veteran from Berlin's '90s underground scene who is still active in the city today. His solo project B. Ashra has existed since 1993 as a live act, DJ, composer, sound designer and mastering engineer. He's been known to delve into ambient, experimental, soundscapes, trance and techno, as well as deep house and electronic jazz. Much of the aforementioned is explored on the Eyes In The Sky EP: from the deep 303 swing of 'Space Rock', the chill downtempo electronica of 'Give Me Contact', to the heady acid house of 'The End Of Rain' and the hypnotic techno of 'Sputnik'.
Review: This new collaboration between Swedish producer Civilistjavel! and Lebanese artist Mayssa Jallad is both a conceptual inversion and a sonic ghost of Jallad's original record. Refracting material from her Beirut-focused album through sparse dub techno, Civilistjavel! transforms narrative-rich compositions into abstract, often beatless forms where Mayssa's voice floats disembodied in a fog of delay and reverb. Tracks like 'Baynana (Version)' and 'Holiday Inn (March 21 to 29) (Version)' feel haunted by memory, with structure hinted at but rarely resolved. It's a remarkable shift in context, but one that remains emotionally aligned. Civilistjavel!'s production avoids spectacle in favour of slow erosionivocal fragments hover, dissolve, re-emerge. Even more rhythmic moments like 'Kharita (Dub)' maintain an eerie restraint, built on slippery grooves and shimmering decay. Both artists are working far from their geographic homesiMayssa in Boston, Tomas in Uppsalaibut the result sounds uncannily unified. It's a record that holds grief and beauty in the same hand, illuminating the quiet force of Mayssa's voice and Civilistjavel!'s deft minimalism. Not so much a remix album as a parallel reality: austere, spectral, and deeply moving.
Review: To mark 15 years since its original release, DJ Hell's landmark Teufelswerk long player returns as a very collectable limited edition triple vinyl set that also includes a poster of the original cover and a special hype sticker. When it was released in 2009, Teufelswerk made an immediate impact and over time has remained a pivotal work thanks to its brash and inventive collision of techno, ambient and experimental sounds. It features collaborations with artists like Bryan Ferry and explores the contrast between Day and Night so looks to, and does, balance euphoric dancefloor highs with immersive, cinematic atmospheres that make a longer-lasting impression. It's proven to be a timeless, genre-defying classic.
Ronny Nyheim & DJ Sotofett - "Piezoelectric" (7:00)
LA 2000 & DJ Sotofett - "Dub Toner" (dub 1) (5:58)
DJ Sotofett - "My Spirit Is In Techno Music" (7:24)
DJ Sotofett - "Tommer Bliss" (feat LNS) (5:43)
LA 2000 - "Safety" (DJ Sotofett dubmix) (6:22)
LNS & DJ Sotofett - "909 Nite Stepper" (6:58)
Review: DJ Sotofett returns with a double 12" packed with eight hard-hitting, underground techno tracks. Featuring frequent collaborators LNS, L.A. 2000, Ronny Nyheim, and Zarate_Fix, this release is a direct nod to the no-nonsense techno nights at Berlin's iconic Tresor club, where Sotofett holds residency. Each track is crafted with pure dancefloor energy in mind, moving through dub-driven techno, acidic overtones, and percussive basslines, all delivered with a raw, uncompromising edge. WANIA mk1 is a masterclass in DJ-ready versatility, perfect for those who love their techno stripped back and potent. Standout cuts include the bombastic, percussion-heavy Preparation and the 909-vocoder-fuelled My Spirit Is In Techno Music, both of which exemplify the release's dedication to the underground essence of the genre. With alternative mixes from WANIA mk2 making an appearance, the album offers both continuity and innovation, keeping true techno fans hooked from start to finish. Sotofett's attention to detail in programming, mixing, and mastering is evident throughout, making this a must-have for DJs and clubbers who live and breathe the core of real, unfiltered techno music. WANIA mk1 isn't just an album; it's a statement for those who value authenticity in their club experience.
Review: J Trystero's Cantor's Paradis on Fergus Jones' FELT label is a 45-minute drift through ambient dub terrain that leaves you mesmerised. It draws on the spacious design of artists like Huerco S. and Civilistjavel!, and unfolds in a dreamlike haze of blurred melodies, submerged textures and subtle, ever-shifting rhythms. Trystero filters the DNA of '90s dub techno into soft, iridescent tones here to craft soundscapes that feel both ancient and futuristic. Tracks like 'Untitled 6' briefly emerge with dubby definition but the album thrives in ambiguity. It's a deeply immersive record that's hypnotic, calming and subtly emotive so perfect for late-night solitude or introspective mental wandering.
Review: E-bony's Digital Dawn album is about "defining his identity as an artist" and it comes through INDUSTRIAS MEKANIKAS. This 12-tracker welds together electro and techno with plenty of personal sound perspective and dark textures that keep it decidedly underground. Collaborating with Noamm on four tracks, their creative synergy adds depth and elevates the record's complexity with the likes of 'Matrix Kod' getting gritty and eerie, 'Aurora Noir' bringing snappy kicks and coruscated acid lines and 'Data Delight' fizzing with pixelated synth sugariness.
Review: Jakarta-based Ecilo returns to Voyager Recordings with a new album that taps into a familiar style - sci-fi atmospheres with dancefloor-ready techno - but he does it with rare skill. He's been honing this style since 2008 on labels like AXIS, ARTS and Planet Rhythm and these latest tunes have had early plays from dons such as Luke Slater, Ben Sims and Svreca. 'Taken' sets the seen and launches you into deep space, and the rest of the EP powers on with the singing circuit boards of 'Fractal Mesh' quick to mesmerise, the purposeful low end throb of 'Something We Don't Understand' impossible to escape from and 'Ready The Armada' channeling archetype Jee Mills style comic techno minimalism.
Review: Ehua treads into new territory with her debut full-length, Panta Rei, arriving via 3024 after an extended period of experimentation and self-reflection. Over 18 months, the London producer and DJ - originally from Italy - fused deep bass mutations with live percussion, acoustic textures, and, for the first time, her own voice. The result is a humanistic record, with glassy sonic abstractions, vocal reversions and rhythmic interruptions serving plenty space for intimacy and contrast. Ahead of a launch party scheduled in South London on April 24th, hosted by 3024 and Planet Wax, the likes of 'White', 'Bumju' and 'Albicocca' are propulsive, driving integrators of brain and body, perfect for imminent deployment in the divey New Cross establishment.
These Weeds - The Ones That Do The Impossible (7:06)
The Same Is Different Every Day (3:44)
Saturated Memory Of A Rooftop (6:01)
M Net 103's Impossible Turn (13:37)
Review: "Instead of escaping somewhere else, this time I want to be here." We're not 100% sure if that's Fabiano or E35 Netherlands quoted, and woe betide anyone who thinks they can interpret such cryptic (not to mention borrowed) quips without asking the person who said them what they meant. Nevertheless, Landmarks very quickly presents itself as an ambient beauty born of this planet and nowhere else. At times the sounds are challenging - heavily textured tracks rather than the lush dreamscapes we often associate with the rather reductive 'ambient' label. Sometimes things are quite eerie, like the disquiet that materialises around halfway through 'Flowers On The Hospital Grounds', and the dense static waves of 'Saturated Memory On A Rooftop'. At other moments, tones invoke the mystery of night skies over Earth, or the rhythm of a world filled with enough life to mean we're still finding new species today.
Review: Charming post-gabber connections from Fish & Rice aka Hellfish (King of Ironfist) and Akira (Ricemaster). Go Fuck Yourself goes with the epic synopsis of a sordid culinary horror: our deuteragonists Fish and Rice once again must defeat the tyrannical lord Pink Fist using stolen weapons-grade audio care packages, hacked from the data banks of Iron Prime (we can only guess what this means, exactly). Edacious in theme, this is an erratic, (sea) bass dropper of an LP, with not a single given eff in sight. 'Fish Ramen Gabba', 'Rice-Fish' and 'Do You Cook' serve poisson poisons of hardcore tok kicks and citrusy supersaw sound design, causing our faces to scrunch up in olfactory delight.
Review: Multiple Angle Distortions (M.A.D) is the second of two EPs previewing The Future Sound of London's upcoming 2025 album. It dives into darker, more percussive terrain than before and blends acidic 303 textures with brooding orchestral layers as the cult FSOL continue to expand their sonic palette. Grammy-nominated Daniel Pemberton guests on the striking 'Improvisations,' which is a live recording from a London fashion show, while closing track 'Northern Point' showcases FSOL's own custom-built synths. The result is a heady fusion of house, electronica and techno with an experimental edge that is both cerebral and immersive. M.A.D affirms this outfit's legacy while still pushing boundaries decades into their career.
Review: Per Hammar and Berlin-based label Sushitech are a match made in heaven as both have long since proven their credential in the world of dub techno. As the label turns 20, it kicks off its year with an album that has been two years in the making and features a top-quality array of dub techno sounds. Malin Genie features on two of the more kicking and propulsive cuts, while Jannik Jivung adds an organic touch to two more. In between those sounds are percolating slow-mo jams like 'Representant Dubb' and more kinetic sounds like 'TX Files' with its fresh kicks and rolling bass.
Review: The now 20-year-strong Sushitech have been working on this one for two years and finally it drops - a new album from cultured dub techno don Per Hammar. This is a seriously deep journey into his signature sound that melds the genre's most classic side with a fresh modern twist. Cuts like 'Generation Drive' have a nice crisp sense of motion as well as lovely warped pads, while 'Juvial' brings a sense of curiousness with its undulating drums and bass. 'Defender' leans into sleek techno styles and will have you cruising in no time. An instant classic album, for sure.
Review: Jamal Moss aka Hieroglyphic Being is one of the most fearless experimentalists in house and techno. He confronts dancefloor disillusionment head-on with Dance Music 4 Bad People, his raw, uncompromising debut for Smalltown Supersound. A veteran of Chicago's club scene, Moss channels four decades of history, highs, lows and trauma into an album that defies escapism. These are not crowd-pleasers but cathartic confrontations dense with abrasive synths, molten drum loops and uneasy textures which all crash together in chaotic, transcendent layers. There's no clean resolution anywhere, instead just tension, dissonance and moments of stark beauty. Far from a nostalgic Windy City love-in, Moss' music reflects a dance culture in crisis and provides a place to rage against it.
Review: Canadian-born, German-based producer Ash Luk is best known for his work in Minimal Violence, a band that used electronics to create raucous, vivid punk-rock style live experiences, as well as his role as one half of 'doom electronic' duo S.A.T.I.N. alongside Ireen Amnes. Under the Infinity Division moniker he's created more impressively dystopian sonic adventures that channel a suitably wide array of extreme music styles, from isolationist ambience at the start of 'No Reason' - which then twists into industrial junglist madness - to breakbeaty Sisters of Mercy-style coldwave on 'Weather Prophets'. Fans of Alec Empire's notorious Digital Hardcore Recordings label and its output should find this entertainingly terrifying and twisted up musical vision very much up their street.
Review: Legendary video game soundtrack-er Motorhiro Kawashima is best known for his efforts on the iconic Streets of Rage 2 and 3 titles. The latter is remembered as one of the hardest to define scores of all time, certainly in terms of a playable titles, and even 30 years on still amazes and baffles anyone who encounters it. Less well known are the artist's solo and standalone efforts, which came much later. Acrobatizm and Prepared Wave were the first two of those records, and emerged in the pre-pandemic late-noughties. Both draw heavily on the glitch and leftfield experimental techno worlds, which were in rude health at the time, doubling down on staccato rhythms and mind-blowing arpeggiation, with the punchiness and jerky vibes more than nod to the glory days of 8-bit gaming.
Review: You might say the clue is in the name, but as well as bearing a nice selection of differently cut beat action, this double album from French/Syrian producer Ahmad Qatrami aka Konalgad on New York's Dance Data label, is also a nicely cerebral affair jammed with celestial adventures for mind as well as feet. It refuses to get stuck in any stylistic rut, from the cloud-like ambience of 'REM' to the brooding bass and dubby stepping of 'Subzero Experiment' and the simmering shimmer of 'Dots To Dots', half digi-dub thump and half subtly filtered junglist trimmings, it keeps on giving something new right to the end. Konalgad apparently translates as "the universe of tomorrow" in Arabic, and this artist definitely has a bright future to match his already quite impressive track record.
Review: Dutchman Danny Wolfers aka Legowelt is one of the most prolific artists in the game. He has several aliases which all explore ambient, synth, house and techno, but this is his most well-known. Synths Below Sea Level is another singular long player packed with his signature machine-made sounds and vintage synth textures. There are intergalactic acid odysseys like 'A1200 The Valley Energy', brilliantly lo-fi deep house mediations like 'Maybe You See Them Fly' with melodies so meaningful they bring a tear to your eye and forward-thinking cosmic techno bangers like 'MKS100 CZ Reference Pod 9' which bend space and time. Another gem with artwork by the man himself.
Social Alliance Warriors (Political Greed mix) (5:53)
Review: Detroit electro investigator MICRO4CE delivers a no-compromise double pack here across two EPs packed with nine tracks of raw electronic futurism and imaging. It is all rooted in classic Detroit electro and so-called hi-tech-funk so the sound channels early 80s influences like Nucleus and Mantronix while carving out its own cyborg-driven edge. 'Bass Situation 313' gets underway with swampy low ends and far-sighted chords then the likes of 'Borg Fightz' bring unrelenting coruscated drums and 'The Greed' is a more minimal sound with zippy synths and dehumanised vocals. This is seriously high-grade electro for heads who like gritty, futuristic and fearless sounds.
Review: Originally released in 1993, seminal UK duo Orbital's Brown Album marked a bold leap forward in emotional depth and sonic ambition for electronic music. Tracks like 'Halcyon + On + On,' 'Impact (The Earth Is Burning)' and 'Lush 3-1/3-2' showcase the duo's masterful blend of driving rhythms and lush melodic textures. It was hailed as an instant classic at the time and made Mixmag's Best Dance Albums of All Time list. It has endured well over the last 30 years and is now reissued on vinyl for the first time in a decade, with a half-speed remaster and new liner notes by Andrew Harrison.
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