DJS: MOST CHARTED - TECHNO - MOST CHARTED IN MARCH 2015

Review: Deep house veteran Ramon Lisandro Quezada AKA DJ QU makes his debut for Giles Smith and James Priestley's Secretsundaze imprint with a fine EP of woozy, off-kilter house. "SS1" is rolling, hypnotic and trance-like in its' dedication to groove, with darting electronics and looped riffs riding a wonky, late night rhythm. "Fearless", on the other hand, is loose and trippy, all curious vocal samples and swirling strings. Finally, "Loveboxx" offers a dose of saucer-eyed late night fun via a pulsating bassline, cascading chords, delay-laden percussion and dusty, sun-baked melodies.

Review: On an unstoppable march into the deepest reaches of forward thinking electronic music, Aybee delivers once again with another slab of stunning vision on his own Deepblak. "Metamorphosis" starts the EP off in illustrious fashion with graceful sweeps of pads that flirt with a subtle kinked beat, and little else. "The Sky Is Ours" meanwhile revolves around a more stout 4/4 beat than we're used to from the Oakland producer, but still the extra percussive decoration pushes and pulls in alien formations that create a truly unique groove. "Centrifical Seduction" gets a touch more playful, as a nippy bassline darts around sombre synth notes and a stout handclap guides you through. Beats wise it may be more grounded than many Aybee records, but the feeling is still truly out of this world.

Review: There's a fair chance that you'll have missed Paranoid London's four singles to date; they were pressed in limited quantities, appeared in stores with no promotion, and quickly became must-have items for those obsessed with stripped back machine music and ragged acid house. Mercifully, the mysterious, no-holds-barred combo has decided to put out a double album containing much of this material, alongside a smattering of previously unheard cuts (including, most excitingly, a collaboration with Detroit legend DJ Genesis). The hard-to-find classics still sparkle - check the brilliantly sparse-but-heavy "Paris Dub 1" (with regular vocalist Paris Brightledge) and ragged "Transmission 5" (featuring a killer spoken vocal from Mutado Pintado) - while the new cuts are thankfully up to similarly high standard. Recommended.

Review: Some new Planetary Assault Systems material from Mr Luke Slater is always a welcome sight and The Eyes Themselves finds the techno pioneer on suitably mind bending form. Issued naturally by his own Mote Evolver, this three track 12" bristles with the sort of intense, physical energy that makes the music feel alive and somewhat alien with the title track a perfect embodiment. Across the six minutes, "The Eyes Themselves" develops from a dark throb into full blown techno psychedelia that possesses the ability to draw the more open minds into another dimension. Similar things could be said about "Strange Attractor" so we will draw your attention to the B side cut "Arc" where intensity is the predominant characteristic across the eight thrilling minutes.

Review: While establishing the Fit Sound imprint affiliated with the Detroit distro outlet of the same name , Aaron 'Fit' Siegel has been careful not to load the imprint with too many of his own productions, choosing instead to deliver material from Marcellus Pittman, Anthony 'Shake' Shakir, MGUN and Dungeon Acid. Here he makes a welcome return with two tracks of melodious, atmospheric, Motor City deepness. "Carmine" is particularly alluring, with twinkling melodies winding their way around yearning pads, bittersweet chords and shuffling, cymbal-heavy percussion. "First Found" is a little more forthright, with off-key pianos and scattergun electronics riding a tougher, locked-in groove.

Review: It's surprising that Stenny have been kept strictly within the bounds of Ilian Tape thus far, given the distinctive nature of their output, but that's all the better for the label. The quality remains pleasingly high on this latest single, while at five tracks they're no slouches on quantity either. "Caveberg" makes a strong opening statement with its fractious groove and dreamy swathes of grainy chords, while "Hagale" represents a more propulsive if no less swinging techno romp. "Sublimation" meanwhile fuses both concerns to make for a thoroughly cosmic approach to tough, jagged techno, and "Ruins" layers its percussion in a thrilling, tribally-influenced formation before "Three Mile Island" cools the record down with a straining, distorted slice of ambience.

Review: Lobster Theremin's Mork sublabel hits its second release following the first offering from Nthng, and it finds the equally fresh Raw MT on hand to follow up on their own debut EP on Wicked Bass. It's a thoroughly enjoyable ride through deep house with character, not least on "La Duna" with its gorgeous swirls of melody unfurling around a snappy, dynamic beat. "Track 2" meanwhile ups the freakiness with a tribal lilt to the drums and some sumptuous bass to sink your teeth into. "Strike" flips the script completely with a chunky techno workout that sits in stark contrast to the other three tracks, and sounds damn fine with it.

Review: Luke Standing's latest release features more of the same 90s-themed techno, but with a twist. Introspective sounds like he has refined and streamlined his influences. This is evident from the outset; "Introspective 1" is a stab-heavy affair, led by a rolling, high-tempo rhythm and nagging hats. It sounds like a cleaner, more functional take on vintage Dave Angel and Darren Price. The big changes happen on "2" and "3"; on both tracks, the grooves are more pulsing and linear, but the glacial chords and sensuous, soaring strings show that Blue Hour is set to keep an eye on the past as well as the present.

Review: It's Various Artists time for Mistress Recordings, continuing the hair colour theme that has been running with The Brunette and The Redhead. DVS1's sublabel is known for opening up to more diverse sounds and it shows here, as you get treated to bouncy deep abstractions from Jonas Friedlich, dirty analogue immersion from ASOK, dreamy house music from Nicson and An Gelo, and crisp mournful techno from Kirill Mamin. What binds all these tracks together is the melancholic atmospheres and the tough line in rhythm that goes hand in hand with DVS1's artistic temperament. Both playable and intriguing, there's nothing not to love about this EP.

Review: Stefan Ringer is usually associated to funky, swinging soulful kinda house with a rough edge but his new Black Suede moniker has replaced that for a darker, more ethereal sound texture. Debuting for CGI Records, the servings begin with "Connect Like 2 Ways", a granular techno driller-thriller with subtle nuances of soul; "Stimulus (Dead)" is an utterly stripped drum machine jam with a nervous percussion and otherworldly atmospherics. On the flip, "7713GH" is rough and ready, swinging and aimed at the floor, while "Purgatory" is deeper, more swollen and rather hypnotic on the ol' cortex. Four stunning and diverse techno excursions.

Review: The master returns! Digital Solutions sees Juan Atkins toast some 35 years as a Detroit techno visionary with the release of a new Model 500 album after some 16 years! The notion of a new Model 500 long player was first mooted by Atkins last summer and now arrives as the most high profile release from his own Metroplex label in some time. Whereas recent years have seen Atkins open up Model 500, working with Mike Banks, DJ Skurge and Mark Taylor both live and on the smattering of 12"s issued through R&S, Digital Solutions is largely the work of Juan alone. Nine tracks deep, Digital Solutions features a crisp array of electro and techno productions from Atkins with "Standing In Tomorrow" and "Storm" standing out upon first listen.

Review: The rise of Ilian Tape has been piloted by Dario and Marco Zenker with a steady assurance, so it makes perfect sense for the brothers to helm the first long player project from the Munich label. Immersion is a vibrant, atmospheric stroll through their various influences and inspirations with plenty to admire amongst the ten tracks. There is the bustling, leftfield breakbeat techno of "TSV WB" and pounding "High Club" (a no-nonsense dancefloor assault blessed with occasional eyes-closed chords), as well as sublime tech-jazz of "Cornel 21" and pitched-down junglisms of "Innef Runs". Interestingly, there are also a number of crusty, distorted ambient interludes, with "Erbquake" sounding particularly potent.

Review: The latest release on Gerd Jansen's label comes from Irish producer John Daly. This number-themed four-tracker marks a shift in style for Daly, stripped of his trademark melodies in favour of a tougher dance floor approach. "11" sets the tone for the release with furious bursts of percussion, a dank acid line and menacing bass tones. "51" is in a similar vein, but here it sounds like Daly is channelling the darker end of Nu Groove's back catalogue as an eerie synth line unravels over tight claps and crashing cymbals. Meanwhile, both "41" and "2" venture farther into techno sounds, with heavy kicks and snare rolls adding to the intense approach.

Review: 50 releases in under four years is no mean feat, so a round of applause to Unknown to the Unknown who surpass the landmark with a new record from Legowelt. The superbly named Immensity Of Cosmic Space arrives hot on the heels of Legowelt's fine Vaporware Tracks record for Creme and sees the Dutchman exploring the realm of rave era breakbeat techno. Of course what makes Danny Wolfers work as Legowelt so distinctive his mastery of star gazing melodies and hearing them fused with recycled drum breaks on the title track and the Amen filled "Lumeria2" is a real delight.

Review: And so the Token juggernaut continues, slaying all before it with some of the best club techno you are likely to find right now. Terra Incognita sees Spanish producer Tadeo debut on the label after a fine succession of 12"s in 2014 and at six tracks long Miguel Sar takes the chance to really explore his range. "Requiem" offers a foreboding beatless opener that is rife with tension, whilst "Deep Space" explores similar territory to the Something from the Sky series by Jeff Mills. From here Tadeo runs through various shades of dancefloor techno with the mind bending "Apollo 7" our pick!

Review: Given their previously proclaimed love of ghetto house and its' various similarly minded offshoots, its little surprise to find Glasgow's Numbers crew putting out a "greatest hits" EP from long-serving Chicago producer (and former Dance Mania regular) DJ Deeon. The four cuts that make up Deeon Doez Deeon are not necessarily meant to be his finest moments - though they are all killer - but instead represent the Numbers' crew's favourites. There's plenty to get excited about, from the organ craziness, bumpin' beats and classic disco vocals of "2 Be Free" and blistering "House-O-Matic", to the classic, cut-up vocals and stuttering, ghetto rhythms of "Freak Like Me" (first released way back in 1996).

Review: A.1 "Rampage" is an explosive toolish techno tune, that submerges in a dark but atmosferic radiance with heavy pulsating drums and bass lines that engulfes into total deepness. A track frull of atitude. B.1 "Chase" on the flippside is another straight forward thinking production, that overcomes with overdimensional chords and with an intelligent funky sequence that wraps you in again and again.

Review: For their first missive of 2015, legendary German techno label Tresor has turned to two French producers; veteran DJ Deep and fast-rising youngster Roman Poncet. It's the duo's first collaboration, and Hydraulic Pressure shows real potential. They begin by unveiling "Hydraulic Jack", an undulating chunk of hustling loop techno built around fluid synthesizer riffs, starry electronics and thumping bottom end. "Hydraulic Pump" offers an alternative take on the same track, with bumpier percussion and relentless handclaps offering the perfect accompaniment to the headline synth refrain. Finally, "Artesian Well" eschews the fearless pump of techno altogether, instead delivering a yearning, eyes-closed slice of shimmering ambience built around trippy vocal samples and that now familiar synthesizer sequence.

Review: You could hardly say that Joey Anderson's 2014 debut album, After Forever, was overlooked, but it certainly didn't get the coverage it deserved. The New Jersey native is a distinctive talent, and After Forever was full of tracks that took deep house and techno in unique directions. This speedy follow-up 12", also for Dekmantel, is similarly impressive. Opener "1974" is intensely bright, with restless synthesizer arpeggios and dreamy chords riding a heavy-but-subtle, off-kilter groove. "Under Water" is woozier and a little darker, with curious samples twisted into melodious metallic shapes, while "Back Draft" sees Anderson dropping sci-fi sounds over a throbbing, jacking rhythm.

Review: Completing the hair-colour trilogy, DVS1's Mistress sub label presents another four unfamiliar artists with very distinctive styles that fit into the broader vision of what the imprint is all about. Nutype do an astounding job creating a truly exotic and otherworldly atmosphere with "Noisy Ride" before Mike Gervais fires up a truly infectious techno chord swirl offset by utterly magnificent keys. Opinion keeps things tightly packed in despite having all kinds of bubbling matter hopping around under the dub techno chord pulsing throughout "Autobahnkirche", before A&S brings a more classic slamming Robert Hood approach on "Xenix". Once again the eclecticism of the label is bound together by a cohesive atmosphere that suits darkened clubs with adventurous tastes.

Review: Having issued some fine music as Nummer for Peure Bleue and Going Good, the London based production partnership of Silvere Letellier and Emmanuel Corre introduce a new project in the shape of Nitejams. Largely gone are the cosmic flourishes of Nummer tracks like "Moon to Jupiter", Nitejams it seems is a chance for Corre and Letellier to get busy with their machinery to produce some no-nonsense techno tools. "B1" is perhaps the one moment where the pair's penchant for deepness takes hold, but the other three tracks are rugged techno workouts that demand your attention. So check if you are a fan of John Heckle's Head Front Panel series!

Review: Having made his name during the late '90s and early 2000s as a maker of particularly forthright techno, Oliver Ho has broadened his horizons in recent years. Nowhere is that more obvious on his Broken English Club project, which debuted last year with a pair of industrial and EBM minded releases for Jealous God and Minimal Wave offshoot Cititrax. Here he returns to the latter, laying down more fuzzy, straight-to-tape journeys into analogue, mid '80s dancefloor experimentalism. There's naturally much to enjoy, from the peak Cabaret Voltaire grittiness of "Drycutting", and the bleak EBM throb of "Ritual Killing", to the ghostly synthesizers, Jaydee bass and droning textures of "Channel 83".

Review: Call Super (the best known alias of producer Joseph R Seaton) rose to wider prominence following the release of debut album Suzi Ecto on the Fabric affiliated Houndstooth label last year. While that set mixed left-of-centre techno with more abstract and experimental excursions, there's no denying the floor-filling aspirations of this 12" for Nous. Both "Fluenka's Shelf" and "From Which I Fell" offer up twisted, re-imagined takes on the melodious end of Detroit techno, delivery deep house tempo cuts laden with undulating rhythms, yearning electronics and - on the latter of the two - abrasive acid influences. By Seaton's standards, both tracks are pretty warm and tuneful, though there's still an element of cloaked mystery amongst the bubbling electronics and offbeat machine drums.

Review: WOW! Upon The Gates Of The Great Depth is the latest DJ Spider long player and it's been keeping the Juno office stereo busy all week. The New Yorker has kept himself busy throughout the last few years, releasing on everything from Will Bankhead's TTT together with Marshallito to Nord Records and Killekill. As we expected, this LP is a perfect representation of what Spider does best in the studio, making chunky analogue techno with a house appeal. Put simply, this isn't the sort of techno that's become associated with Berlin's dancefloors, for example, but it's something a lot darker, a lot more complex and filled to the brim with the Big Apple's grit and urban paranoia. Recommended

Review: The Portuguese takeover of Creme Organization continues apace here as the inimitable IVVVO makes his full debut on the iconic label from Den Haag with the wonderfully titled Mark Leckey Made Me Hardcore. Paying clear homage to the London based installation artist, this three track 12" arrives hot on the heels of IVVVO's split release for Creme with fellow Portugeezer Lake Haze and has some truly wonderful sleeve art from Godspill. In terms of music, IVVVO seems to be exploring the spectral rave that has served him so well in the past on lead track "Raised" though "0000" is the kind of cut you'd hear wedged deep into an Actress record circa 2011. Inbetween "Our Journey" veers down an abstract techno hole with some quite brilliant vocal loop manipulation. And the odd dog bark.