DJs: Most Charted - Techno - November 2011

Review: At this point it seems that nothing will stop the Skudge juggernaut, as they drop the first release on their own imprint a mere six months after their album, Phantom. This 12" doesn't throw any huge curveballs, but these tracks display a lightness and simplicity that has been largely unseen in their previously weightier productions. Of course their sense of rhythm is still as on point as ever; "June" is characterised by its beefy toms which drive the track forwards, but most surprising it the simple chord sequence which ebbs and flows throughout, allowing only a simple whistle as its only excess. "Man On Wire" is built around a simple bassline and slowly intensifying synth stab, but again, with a gravity defying breeziness that feels ever so subtly different from their previous productions. The 12" concludes on this note, with a short, bright, arpeggio tool that is an interesting diversion from their usual warehouse sound, and intriguing look at possible things to come.

Review: Now this is a bit special. Luke Slater's Mote Evolver launches the Parallel series, the concept being that two contrasting but complementing artists drop a brace of tracks each on the one 12". US based Englishman ASC (real name James Clements), known primarily for his forward thinking D&B excursions, turns in two whopping techno cuts on the A-Side. The relentless guttural throb of "Slow Burn" is offset by some slapping synths and barely there vocal snippets, kind of what we'd expect a studio jam between Levon Vincent and Boddika to sound like. This is complemented by the more liquid tones of "Transit", a reverb-laden throbber with menacing sonar bleeps piercing the swampy atmospherics. On the flip, Slater adopts his seldom seen L.B.Dub Corp guise for "Lurcher's Dub" and "Native Dub", with the cavernous sub-bass and twinkling keys of the former demanding play on an implausibly large soundsytem.

Review: The second Ann Aimee Intertia sampler arrives, with four rugged cuts from Marcelus, Sigha, Redshape and Area Forty_One - all plucked from Delta Funktionen's upcoming mix for the Delsin sub-label. "24/7" by Parisian producer Marcelus opens proceedings; a loopy, visceral and hypnotic slab of concrete funk which shares A-Side spoils with Sigha's Sandwell District-esque paranoid throbber "Finding Myself" - one of those tracks where you discover new subtle sonic touches with each listen. Flip over for the 12"s most incendiary moment - the dusty thump of "Static" by Redshape - before Area Forty_One serves up our pick of the bunch: "CNTCT" is epic, there's simply no other word for it.

Review: Martin Bonds is one of Detroit techno's lesser known but no less influential figures. As Reel By Real he released the 1990 classic Surkit, and now, with Surkit Chamber - The Melding he has released his first new material under the moniker in almost 20 years, a pitch perfect updating of the classic sound of Detroit techno. Abdul Haqq's Neuromancer-esque cover art perfectly encapsulates the meeting between man and machine which seems to permeate the album; tracks like "Glass" and "Switchback" utilise mechanical rhythms and metallic textures to great effect, whilst "Fate" combines the album's retro-futuristic sheen with jazzy keys and Bonds' own vocals, and as an album it strikes the perfect balance between the more avant-garde and dancefloor friendly Detroit production, especially on tracks like "Stow Away" which combines a particularly Drexciyan bassline with a more manageable tempo.

Review: Ever since it was debuted by Benji B on his Radio 1 show a couple of months back, there has been a general clamour for the release of "Danger", a rippling, techno-leaning Floating Points production that brings to mind his stunning (and slept on) remix of Sebastien Tellier. A peak time throbber this in not, with Mr Shepherd retaining his trademark jazzuality and penchant for deep pools of sub bass, with an epic introduction of soaring synths and rippling arpeggios. On the flipside of this Eglo 7" you'll find the deeply atmospheric "Miniature 27", which sees Floating Points dipping his toes into beatless, ambient waters. A stunning and most essential release.

Review: REPRESS: The Hardwax-affiliated Power House label presents its second release, now available for wider consumption following a limited run. WK7's "The Avalanche" is throbbing party techno, with a punishing kick - the centrepiece around which all other percussive elements fall - reigning blows down relentlessly: this is the sonic equivalent of sticking a firework up the dancefloors' collective backside and lighting the touch paper. Drop it down to 33 rpm on the flip for "High Power", which is just as incendiary - the key point being that these are not just dumb slices of peak time dance music - they have clearly been produced with intricate poise, with detailed nuances and obsessive attention to sound design. The Hardcore PCK mix of "Higher Power" is perhaps the pick of the bunch, with a broken beat bass drum pounding alongside off-kilter chord stabs.

Review: Sect Records' recent compilation It's All For You showcased the exceptionally high standard of the label's roster as well as introducing some talent to the world, and this, the first 12" sampler from the album, selects three of the compilation's finest tracks for vinyl treatment. Victor Martinez takes over the A-Side with "Dav To Dub", combining heavily delayed chords filtered to breaking point, while a massive kick drum propels everything along, and a jazzy piano melody adds some subtle ambience. On the flip, D'Knox's "I'm Sorry (remix)", is a sparse number contrasting soothing chords with micro-loops which contain the spectre of disco, with a rapid rhythmic flutter and chittering melody at its core, while Fanon Flowers closes with "Invisible Life", a murky production filled with chords that ripple like sheet metal over a flurry of 909 rimshots.

Review: ** Repress For The Hood Fans ** Emboldened by the reception to his overlooked and revisited Floorplan project, Mr Robert Hood turns to a track of a similar nature for the latest release in the M Plant Perpetual Masters series. The main slinky hook from Sister Sledge's "He's The Greatest Dancer" may have been subsequently bastardized by Mr Will Jiggy Smith, but Hood's minimal sampling of the same source on the 1991 track "The Greatest Dancer" must have sounded thrilling then. It still does today, remastered and is complemented on the flip by "Dancer", a new Hood jam that is as close to outright disco without losing that trademark Detroit grit as you can get.

Review: Funkineven's ascendance to big things continues apace with the release of Roland's Jam, a dextrously rough around the edges three track insight into what we can expect from his forthcoming album. There's been a massive crank in expectation over the title track since Eglo unleashed it upon select tastemakers and it's easy to hear why, as Funkineven serves up a end of year list worthy slab of tempo shifting, tuff 303 circulations that pretty much demand the shaking of booty. The B Side elicits further acid soaked deviations with "Take It Back" unfurling heavily lysergic lines over spring rolled drums and delicious Hardcastle style vocal and synth hooks. There's a charming scattergun approach throughout, slipping between shards of forgotten 80s pop and ascendant zigzags of acid house delight. "XXX" operates on a similar plane, with the added addition of risque vocal samples throughout making it an altogether thrilling experience.

Review: ** REPRESS ** The ever excellent D'Marc Cantu serves up this two track re-entry on MOS DEEP which serves as an enticing prelude to the producer's eagerly awaited debut album (of sorts) which is due later this year. Across both sides of the hand stamped ten inch Cantu demonstrates the ease with which he can work vintage, driving Chicago house rhythms and more emotive, utopian visions of machine made sounds. Lead track "How Are We Doing?" is the former, with wide reaching analogue thrusts gradually being joined by soaring strings over a driving jack groove. Our favourite however is the B Side "A Second Earth", a blissful saunter through laidback melodic touches and skittering rhythms that could go for infinity and not lose its charm.

Review: Fresh from serving up the latest Berghain mix (as well as showcasing his natty two tone suit look) Marcel Fengler ensures the spotlight remains near with the launch of his new IMF label. Smartly standing for Imprint Marcel Fengler, the inaugural release sees Fengler indulge all aspects of his production palette across the three tracks. "Knavish" for example is a thick set sway through viscous waves of sonics, whilst "Hidden" aligns to more standard rhythmic templates with a decidedly downward trajectory. The title track "Sphinx" hogs the B Side, sounding most like the techno Fengler plays at Berghain, grasping its own searing pressurised funk amidst playful yet aggressive programming. Nicely stickered sleeve too!