Minimal House / Tech House

Review: Lempuyang is a label you will know and respect for its high quality stream of immersive dub techno and now the man behind it, Alastair Kelly, debuts a new label with none other than revered UK techno mainstay Ibrahim Alfa Jnr. He opens up with 'Component A' which is a moody melange of slow, broken dub beats and fizzing synths. There is further experimentation on 'Untitled B2 1' which pairs a churning dub rhythm with naive and innocent melodies and lots of li-fi static. 'Entangled' ups the ante with the suggestion of a fast paced rhythm through a skeletal groove and the flip brings broken beat dub weight, meaning and percussive bass with a 2-step swagger then deep introspection on the closer. A classy EP that suggests this label is one well worth watching.

Review: On The Button is a Leeds based record label and party that has a cultured following. Its first musical outing drew rightful praise and now comes a second, this time from Barcelona based Aniano. This one is not short on energy: opener 'No Me Dejo Enganar (feat Rub Db)' has a filthy bassline that will get lips curled in mock disgust. It's fat-assed tech with real swagger and 'Did You Want This' keeps the vibes flowing with more fresh sounds designs and characterful basslines. 'Spellbound Sage' is marked with intriguing sound designs and warped pads, digital melodies and wonky energy and 'Futuristic Residential Area' is a fine experimental closer that is dense and inventive.

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.

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: The mysterious EMI has been turning out cutting-edge minimal and tech weapons for a while on the likes of PlayedBy and Contur, and this one takes him to the fledgling Draganenii label for a pair of elongated, long-form workouts for mind and body. 'ElVis#1' is all snappy drums and rasping bass, watery pads and moody synth atmospherics that are constantly shifting. The flip side is another epic piece, but this time is more stripped back and deep, dubby and otherworldly with smeared pads and abstract designs all keeping the mind busy while the synthetic grooves roll on.

Review: This EP arrives with a confident, polished sound that positions itself at the cutting edge of experimental electronica. Opening with 'Empire Rising,' the track strikes an immediate balance between precision and mood, with tight percussion and shimmering synths that pulse through the mix, pushing the track forward without ever feeling rushed. 'Neon Horizons' adds a darker layer, its brooding atmosphere enhanced by off-kilter rhythms and an almost cinematic scope. The production throughout is intricate and layered, showcasing GNMR's attention to detail. The EP's strength lies in its ability to sound both futuristic and grounded, offering a glimpse of what's to come, while feeling timeless in its composition.

Review: Infinity Plus One channels the murky heat of 90s Detroit into four cuts that throb with machine soul and analogue bite. Based in the UK, the producer debuts with a raw but focused blend of electro, house and technoihis nod to the Motor City filtered through a distinctively UK lens. 'Innocent Beginnings' pairs chunky kicks with haunted synth washes, laying the groundwork with a bass-heavy strut that feels both grounded and widescreen. 'Dusk And Darkness' leans darker, stitching 808s and breaks into a rolling, rave-adjacent groove, all tension and propulsion. On the flip, 'Stand For Love' dips into classic deep house mode, slowing the pace for a moment of emotional clarityigentle pads circling a tender vocal loop. Closer 'Ubiquity' rides a twisting bassline into atmospheric club gear, its big stabs and lurking low-end pulling dancers into a heady zone. A full-spectrum debut that honours the roots but refuses to settle in them, this is warehouse music made with reverenceiand a sense of forward motion.

Review: Transgender environmental activist Chris Korda founded the Church of Euthanasia (CoE) in 1992 and advocated for the end of humanity's destructive practices. Korda's work itself transcends activism by drawing on art, music and technology in groundbreaking ways. A retrospective of her oeuvre at Goswell Road unites her CoE actions with her personal creative practice and showcases original banners, archival materials and unseen paintings. Korda's music, meanwhile, is generated by kinetic virtual sculptures and collaborative algorithms that reflect her vision of machines as equals in the creative process. Her unique approach challenges traditional boundaries and results in some gorgeous groves that are powerful physically and emotionally.

Review: Fledgling label Sismo looks to Uruguayan talent Luis Malon for their next offering. He is based in La Barra and brings plenty of the signifiers those tuned into the Uruguay underground will recognise. 'Broken Bridge' is stiff, mechanical tech house with a real urgency and thumping bass. It's nicely undercooked production-wise but sure to overheat the 'floor. 'Pio's' is another metallic club sound with woozy pads up top, softening things somewhat, and 'Robota' has a gritty undercurrent and melancholy in the chords that chimes with the work of Omar S and the Motor City. 'Robot Dance' spins out on slapping broken beats and industrial cosmic energy.

Review: An exciting blend of minimal tech house and experimental techno only equalled by an emotionally gripping acoustic version on the second side. The track immediately grabs attention with its intricate layers of moody synths and pulsating percussion. Steffen Linck's evocative lyrics float effortlessly over the atmospheric soundscape, balancing vulnerability and groove. It's a track that speaks to deep emotions while maintaining a steady, hypnotic rhythm. On the Side-B, Monolink presents "Mesmerized (Acoustic)', a beautiful reworking that strips away the electronic elements to expose the raw heart of the song. This acoustic version is a more intimate experience, where soulful vocals and acoustic instrumentation take center stage. The result is a tender, thought-provoking reinterpretation that breathes new life into the track, further enhancing its emotional depth. This release shows off Monolink's ability to blend electronic precision with organic emotion.

Review: The Montreal-based boutique label, Aissa Records, a vinyl-only sub-imprint of Suleiman Records, continues to carve out a niche for sophisticated, nuanced techno with this new one from Pheek. 'Maybe It Was A Dream' merges ambient textures with crisp minimal techno that is dreamy and hypnotic. 'Goldfish Memory' is a track that feels both meditative and kinetic so is perfect for deep listening or late-night sets. On the flip, Mihai Popoviciu delivers a tight, club-ready remix that adds punch without losing the original's subtlety and lastly, 'YEAH' is a dubbed out and reverb-rich roller with abstract sonic details keeping the mind as busy as the body.

Review: Cabale Records is a Parisian label that has, for the last few years been exploring the minimal techno world. It now branches out with its first various artist release featuring some tasteful tune makers starting with Pheek. He brings some loose percussive energy and wonky drum funk to his opener then Mod303 layers in dreamy and immersive pad work to deft, subtle drums on 'Paris City Zoo.' Night No Tori Vs Hubble keeps it deep and dubby with the late-night introspection of 'Deja Vu' then Sten's 'Slope' is a trippy afterhours sound with tumbling synth smears and percolating dub tech beats.

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: With Yoyaku's record shop staff handling A&R, the YYK No Label imprint has become impressively unpredictable. Recently, they've served up 21st century progressive house from Varhat, a killer collaboration between Chez Damier and Ben Vedren and an experimental synth-pop album from People People. Here they turn to Swizz jazz drummer Samuel Rohrer, an artist with extensive experience of delivering hybrid acoustic-electronic tech-house and minimal techno excursions. That's what's on offer here, with Rohrer blending vintage electronics and his own drums and percussion with synthesiser sequences, machine beats and intoxicating aural textures. This approach is best exemplified by the Tangerine Dream-goes-tech-house flex of 'Rewired Paradise' and the sludgy, pitched-down 'Memory Reset', though ambient jazz number 'Into The Void Where Things Go (Part II)' is also brilliant.

Review: Houston's Seven Davis Jr continues his musical explorations via his Secret Angles imprint, serving three floor-focused cuts on 'Is This The Apocalypse'. The long-serving US producer, vocalist and DJ is unafraid of experimentation, and his latest offering delivers a set of forward-facing house and techno hybrids. Stripped, straight to the point, simultaneously familiar and fresh i the club room is very much the focus here. The energetic opener 'I Should Be In Japan' arrives with semi-sung vocals echoing over sleazy bass and fierce four-four rhythms, before 'PBS (Party & Bullshit)' ups the tempo with jacking drums driving spoken-word sass over a stripped-back topography. Finally, the title track powers over swung house drums, with its magnetic bass hook and looped samples providing the bed for paranoid bleeps and call-to-action vocals.

Review: Remarkably accomplished techno minimalisms from Hamburg producer Stimming, who's been dazzling his contemporaries with his highly touching works since the early 2000s. The artist's latest full-length LP follows the precedent single 'Keys Don't Match', with its stammering sound design and abeyant, textural purities, which echo the slow-building sublimities of DJ Koze, Apparat or the Keinemusik crew. With the condensate vocals of Dominique Fricot heard throughout, this one-of-a-kind record reminds us not to take or use the hackneyed phrase "unique production style" too lightly. His really is. As it was with 'Keys Don't Match', which clinched a 15-year first relationship through the metaphor of mismatched keys, the entire record, from 'The Origin' to 'Feeding Seagulls', has us stimming with intrigue.

Review: Wolfgang Voigt's Studio 1 and Freiland are landmark examples of 1990s minimalist concept techno. Studio 1 defined a stripped-down, hypnotic approach, while Freiland explored a more experimental, textured sound. This release features two discs with each of those differing approaches served up, but the second compiles the best of Freiland into a continuous set. Both showcase Voigt's pioneering vision and knack for marrying great precision with an absorbing atmosphere in a way that remains influential today. Essential listening for techno-purists and fans of the avant-garde.

Review: Vodkast Records continues to put a focus on Georgian musicians here with a new EP composed and performed by Tedi, while Zesknel also offers up three remixes. These are experimental sounds from the word go: 'Peru' is all fizzing textures and live jazz drums with moody spoken words, 'Upper Manuality' is a raw techno stomper with a sense of dystopian menace and 'Saturn' is a lithe, dubby and deep space techno interlude. 'Detunator' brings curious, clean synth modulations and shuffling rhythms. The remixes all bring dark energy and otherworldly motifs.

Review: Tifra ventures into uncharted territory with a four track EP that explores the hypnotic and ominous depths of the unknown. Channelling the spirit of 90s and 00s house and prog, Tifra crafts a sonic landscape of undulating grooves and mesmerizing rhythms. 'Invoke Hysteria' sets the tone with its pulsating energy, while 'Serpent' slithers through hypnotic textures and haunting melodies. The title track, 'Terra Incognita', delves deeper into the unknown, its hypnotic groove punctuated by unexpected twists and turns. Admo's masterful remix adds another dimension, transforming the track into a peak-time weapon. This EP is a journey into the depths of sound, a testament to Tifra's ability to craft captivating and immersive electronic music.