Back catalogue: Techno (All)

Review: As the artist alias kind of suggests, Abyssy takes a deep dive into the unknown depths of the human spirit. It finds the artist returning to Simona Faraone's label after several years and finds him exploring electronic sounds of the 70s and 80s, blending Berlin school minimalism with Detroit techno's soul and funk. It is a record that ranges in mood and tempo as it heads into oceanic depths where wispy pads and chattery percussive patterns collide in unusual ways. It's a largely abstract album of unusual sound designs and genuine electronic discovery that often has you wondering just how certain abounds have been made.

Review: Electronic music is guilty of so many injustices it's hard to know where to begin. Among the least talked about historically is the lack of space made for South Asian and South Asian-heritage artists, who, despite the written pantheons doing their best not to emphasise it, have contributed an incredible amount to the canon's many genres. Things are improving in terms of representation and visibility, but there is still a very, very long way to go.

Even without the urgent need for more equal coverage, it was always going to be hugely exciting to get a copy of an Acid Arab album. And Trois does not disappoint. The Paris-based production duo invite us into ever-deeper corners of their sound, from the tense prog chug of 'Ya Mahla' and the stripped techno build of 'Rachid Trip', to the slick and sexy, writhing broken gem 'Gouloulou', it's as varied as the influences involved.

Review: New York City techno veteran Adam X returns to Long Island Electrical Systems under the ADMX71 alias, where he once again explores the outer fringes of experimental electronics on his latest LP The Aging Process, existing at the intersection of industrial, EBM and techno. Beginning with the contorted noise soundscape of 'Speaking Via Telepathy' he soon unleashes the seething brain bash of 'Sensor-Tised' followed by the strobing tunnel vision of 'Walking Through Walls'. Elsewhere, there's more dystopian themes aplenty as heard on the static TBM pulse of 'They've Instilled Fear In Us', or the pitch black war funk of 'Leading The Way' and the muscular slow burner 'Leading The Way'.

Review: Michel Amato aka Amato is a French producer more widely known as The Hacker. Alongside Miss Kittin, Amato has been a cornerstone of the European house, techno, and electro scene, dropping singles and album like bombs. Having contributed to a previous split 12" on Cititrax, Amato returns to Minimal Wave's sister label with a wondrous homage to industrial, EBM and electro in Le Desordre De La Nuit. The difference between The Hacker and Amato? The sounds of The Hacker are more constrained than this particular whirlpool of pseudo electro and gargling quasi techno. Whatever you want to call it, these four slammers are all made for the dark room dance, each one nastier than the other and all of them audibly produced by an artist with plenty of experience and effectiveness know-how.

Review: This superb new record from AnD embarks on a conceptual journey inspired by the fusion of granular synthesis, innovative sound design, and rhythmic explorationd within polyphony. It delves into the cosmic phenomenon of star collisions as the artists leverage their background in engineering and explore mathematical intricacies surrounding the timing and impact of stellar collisions. Through a sonic landscape echoing the vastness of space, this record incorporates elements of white noise, fragmented breaks and minimalist synth arrangements that are said to mirror the mental experiences of the listener.

Review: In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.

Review: Originally released in 1996, Aphex Twin's fifth album in as many years meant business from the very moment the wild and whimsical opener "4" scribbled it way through the speakers. With jaunty jams such as "Cornish Acid" and "Fingerbib" running amok mid-set, Richard D James Album acted as a fine mission statement to expect the unexpected and never anticipate formula or form. And it still carries that very same message today. Essential.

Review: Tristan Arp's second album on Facta and K-Lone's Wisdom Teeth is a multidimensional exploration of sound blending pin-drop rhythms, ethereal vocals and swirling ambience. The writing started in Mexico City and was completed in New York and through the tracks, Arp fuses modular synths, cello, found sounds and spoken word to craft a rich world where nature and technology converge. Inspired by the idea of machines collaborating with nature, the album's hopeful tone envisions a future of rewilding and new possibilities across tracks that were performed live and improvised throughout. Many standout moments include the 10-minute 'Life After Humans' which ogres a beautiful escape.

Review: Italian-born/Berlin-based DJ & Producer Pasquale Ascion delivers his second LP since 2016, comprised of largely 303 centered sounds. Acidtraum is a journey into the dark side of the genre, with a dozen tracks that combine lysergic synths, heavy drums and haunting ambience. Further showcasing the Neapolitan producer's wide sonic repertoire, there are moments of bass-heavy electro as heard on 'It Began With That Sound', throwbacks to early hardcore rave sounds explored on 'Needless' (Troller Coaster Kaos mix) and wild Italo reinterpretations ('Tribute To Bad Passion') in addition to many straight ahead techno bangers.

Review: DDS has tapped up the mysterious and enigmatic Japanese dub techno stylist Shinichi Atobe for another album. Discipline is his seventh for the label and each of those has been as faultless as the next - happily, this keeps up that impeccable run which started with a debut on the Chain Reaction label in 2001. The eight cuts on the record offer up delay-laden steppers, swaggering 909 rhythms, plenty of evocative pads and subtle backlit synths that bring a future feel to the soulful, authentic grooves.

Review: In the mid-90s, Audio Science released two CD-only albums, Aural X-Perience and Hypnotic, both of which gained critical acclaim and have since achieved cult status. This new double album on the Rezpektiva label brings together standout tracks from those revered recordings. It begins with the slow motion and psyched-out prog of 'Tales Of The Unknown' and takes in highlights like the slick house punch of 'Strings In The Night' as well as an unreleased Chill mix of 'Tales Of The Unknown' which brings new cosmic energy to the lush original. A great reminder of one of the 90s' finest innovators.

Review: Jonny Dillon is Automatic Tasty and One Foot in the Rave is his debut album on Winthorpe Records. An influential name in acid-driven electronic music, Jonny has spent over 15 years with labels like Acid Waxa, Further Electronix and CPU and knocks it out of the park once more with this new eight-track LP. It's immediately recognisable as his work thanks to its sonic blueprints, melodic acid grooves, bleepy funk and warm analogue textures. Tracks like 'The Apocalypse is Now' and 'Raymond Tuesday's Big Day Out' bring upfront energy, while 'Starry Night' and 'Ringfort' infuse subtle psychedelia to make this a captivating braindance workout.

Review: While Daniel Avery's earlier LPs were deemed by the artist to be dissociative exercises - either working in dance or ambient escapism - his new album 'Ultra Truth' faces up fearlessly to life. Through mega washed out and blurred breaks and, it's the sonic expression of Avery "staring into the fire" of life, however dreamy and indistinct the experience of it may be, and living mindfully, completely in the body he finds himself housed in and controlling. Of course, dance music is embodied music, so we're more than blown away by this representation; Avery pulls it off by going in a direction we've not heard him move in before.

Review: Floppy haired indie techno wizard Daniel Avery has become one of the genre's most notable craftsmen. He has done fine projects with Nine Inch Nails's synth player Alessandro Cortini already recently but now is back with a superb new solo album for his home label Phantasy Sound. The 11-track work is composed entirely of piece he made for his London show Together in Static. It The socially distanced show took place at the recently restored Hackney Church which no doubt influenced the gothic sounds and shadowy drones that define the album.

Review: In recent times Daniel Avery has been busy collaborating with the likes of Alessandro Cortini and Roman Flugel (the latter as Noun), so few expected him to drop a new solo album in 2020. Yet Love & Light, his surprise third full-length, could well be his most sonically stunning set to date. Beginning with the gaseous ambient opaqueness of 'London Island', the set sees him blaze a trail through 1990s style Sabres of Paradise/Sabresonic techno, hazy dub techno, beatless soundscapes and intense drone tones, before switching focus to deep, gentle and melodious mutations of breakbeat, IDM and electronica.

Review: Phantasy Sound's main man Daniel Avery has linked up with modular wizard Alessandro Cortini for a debut full length, "Illusion Of Time". It came together over many years, with no real concept or constraints but it has still managed to make a powerful impact despite its spare, lo-fi, ambient vibes. There are heavier, darker tracks like "Inside The Ruins" that are brilliantly bleak, but also thoughtful meditations like the title track, which has some magical piano playing at its core. It's the rays of light amongst the darkness that make this such a beguiling and beautiful listen, and a perfect soundtrack to long lost days at home during lockdown.

Review: A reissue that minimal house fans will have been waiting for - an expanded version of Baby Ford & The Ifach Collective's Sacred Machine album. Released in 2001, it's genreally accepted to be the high weatermark for minimal, and here's it's been lovingly remastered by Dubplates & Mastering and comes blessed with two unheard-til-now corkers from the same sessions - Mark Broom's mix of 'RTDC' and 'In The Bag'. What are you waiting for?!

Review: Michigan artist John Beltran has had a long and winding career that has seen him put out shimmering ambient electronics, organic techno and also find some of his tracks used on high-profile HBO TV shows. Aesthete is his latest offering and once again it pairs the synthetic with the natural in beautiful ways. His melodies are bright and beautiful, his drums float in mid-air and the overall mood of his music is painfully melancholic. This album marks the American's debut on the Furthur Electronix label and a fine one it is too.

Review: Billian hails from Bosnia and Herzegovina and is and film and game music sound composer currently working on the Scorn game and his first film, Fugitive. He has also found the time to craft this new full length on the Vision (drum & Bass) label land it comes on nice green and blue marbled vinyl. He draws heavily on his work making sounds for films and manages to cook up an array of evocative soundscapes that play out like a mental movie. The likes of 'Uncanny Valley' are kinetic, tightly woven affairs alive with static, and 'Different Eyes' has a more serene feel with swirling pads and distant melodies hinting at a brighter future. Great stuff.

Review: After a run of reissues and a boundary-blurring fusion of classical music and electronica (January 2021's Angel's Flight), Norwegian ambient veteran Geir Jennsen AKA Biosphere has gone back to basics on Shortwave Memories. Ditching software and computers for analogue synths, drum machines and effects units, Jennsen has delivered album that he claims was inspired by the post-punk era electronics of Daniel Miller and Matin Hannett, but instead sounds like a new, less dancefloor-conscious take on the hybrid ambient/techno sound he was famous for in the early 1990s. The results are uniformly brilliant, making this one of the Norwegian trailblazer's most alluring and sonically comforting albums for decades.

Review: Ever-interested in pushing boundaries through sound and ideas, Bjarki returns to the full-length release schedule with another captivating adventure down electronic roads less travelled. More IDM than techno, tracks like 'Puppet Parade' perhaps hit the nail most squarely in terms of descriptions here - warm pads and metronomic accents in the foreground, strange, treacle-y alien noises in the background. Weird and always wonderful, one of the most impressive achievements here is the deft ability to create soundscapes that simultaneously welcome us with open arms and defy expectation and norms. Whether it's the 170 snares and lush tranquility of 'Healing From Memory', or the strangely rousing but thoroughly off-planet 'Void Visitor' to close.

Review: Album number six from Sheffield's electronic heroes The Black Dog was closer to their debut, Bytes, than anything that came in between. "We never set out to make it like Bytes," group member Martin Dust has since explained. "My idea was to create something you could come home to after you'd just ben to a club or gig, that would start at the right pace and then just wind down into a great album and just chill out." Suffice to say, they achieved that and then some. Silenced is an example of downtempo that still feels like it has one foot in the rave, sounds informed by 4AM highs and 10AM quiet, here made precious through the use of blissful and complex tones that envelop and encase your mind. A record everyone should own.

Review: Ben Lukas Boysen's Alta Ripa marks a transformative milestone in his artistic evolution as he blends introspection with bold experimentation. Rooted in the serene landscapes of rural Germany where his creativity first blossomed, the album also reflects the dynamic energy of Berlin, which reshaped his sound in the early 2000s. Boysen's fourth studio album bridges past and future, merging the reflective melodies of his youth with the innovative tones of Berlin's electronic scene. He describes it as music his 15-year-old self would admire but only his grown-up self could create. Unbound by tradition, Boysen's eclectic influences drive his constant musical reinvention.

Review: Breaka returns with Aeoui, a highly anticipated second album that will again establish his reputation as a bass music innovator. Charlie Baker continues to evolve here with his mix of footwork, techno and dancehall influences and jazz drumming background all coming together into fresh club rhythms. The album's unique vibe emerged from a burst of jet-lagged inspiration in late 2023 and led to tracks like 'Squashy Track' and 'YOLO Bass Rewind' which both off-set a mix of organic and synthetic elements, Afro-Cuban rhythms, 'amapiano' and psychedelic influences. Breaka's sound remains unlike anything else.

Review: Mark Broom is a techno veteran, but just because he enjoys that sot of status doesn't mean he has lost his edge. He proves that here with a hefty new record on Radio Salve's mighty Rekids. It bangs from the off with his signature heavy drums defining each of the tracks across all four sides of vinyl. '100% Juice' is peak time tackle with incendiary hit hats and loopy synths, 'Slush' is a head melter with more warped lines and elsewhere 'Wonky Workout' does exactly what says on the tin. There is a brilliantly unsettling and eerie vibe to 'Boxed In' and straight up dance floor fire in 'Wiggle Me This.'

Review: Bushwacka deserves any plaudits that come his way. He was there at the birth of acid house and went on to foment his own take on tech house. He held a legendary residency at the End in London and of course dropped countless seminal tunes alongside Layo, not least their epic 'Love Story' mash-up. Now the acclaimed but still relevant UK veteran dives back into his roots to serve up the sounds that came before tech house with highlights that would have been heard at the time at parties like Heart & Soul, Release, The Drop, Vapour Space, and at venues like Heaven and The End. Skippy, dubbed garage and driving house all feature in a fine collection.

Review: Berlin Atonal returned two years ago from a long hiatus, 23 years to be exact. After three tremendous festivals this decade, they now present us with their first recordings since 1984. These particular ones from the 2014 edition. Cabaret Voltaire (in this incarnation featuring only Richard H Kirk) was a true highlight and contributes "Microscopic Flesh Fragment" and "Universal Energy". One half of Demdike Stare Miles Whitaker went solo, presenting his truly unique take on techno, and the slow burning attitude of "Vagabond No. 7" is evidence of this. New Zealand's Fis also appears; rather uncategorisable as always on "Dist CL (Atonal Version)." On the third disc we have Northern Electronics main man and modern auteur Abdulla Rashim presenting two commissions from his captivating atmospheric set that year. Limited to 700 copies.

Review: Call Super has always been something of an underground darling - one of those untouchable artists with next level skills in the club, and a unique studio sound that excites even the most hardened and passionate fan. 'Eulo Cramps' is the artist's fourth album and one from the centre of a multifaceted project they call 'Tell Me I Didn't Choose This' which includes poetry, auto-biographical writing, painting and music. It is full of personal reflections and his signature melding of jazz, electronica and the unique voices of Julia Holter and Eden Samara. Though adventurous and experimental, it is an album steeped in very real emotion which we can all connect to.

Review: Joseph Capriati has very quickly risen from underground techno player to top-tier titan. The Italian hails from Naples, a famous hotbed of minimalism that has spawned stars like Marco Carola. whose footsteps Capriati has followed in by securing his own Ibiza residency for his Metamorfosi party. The sort if sounds you can expect to hear on that label and at the events are well showcased here on his new mix of the legendary Global Underground series. From dark and driving techno to more emotional and melodic house, it's a colourful and widescreen ride that features a couple of his own fresh jams and many more from contemporary artists.

Review: London Techno Collective's Steve Loss aka Catharsis returns to Berlin's Zhark Recordings for his third release and first long-player. Terrifying Shadows features eight tracks of 'hydraulic techno func (sic) .. and roaring drill mechanisms' that altogether make for some seriously difficult listening. Such disturbing titles as 'Into The warm Embrace Of Deviancy', 'It's So Easy To Corrupt A Soul', as well as 'The Tao Of The Scarred' or by far our favourite 'Tasting Hate From The Cup Of Gods' give you a fair warning of what to expect on this eight track opus: brutalist experimental techno delivered in uncompromising style. Not for the faint of heart!

Review: The second instalment of Clayton's retrospective series, this double vinyl is a remastering of unreleased and hidden gems from the American programmer-cum-producer. Featuring staples in the San Franciscan's discography such as 'Box Selection' and 'W-Shape', which sees an exclusive remix in 'W-Shape revisited'. The result is a futuristic techno-house marvel, with it's minimal (occasionally ambient) tone, the composition is analytical in its construction. Each beat feels perfectly placed as dictated by a formula, a chemical blend of glitch, techno, and ambient house. This record is a must for fans of the 90s techno scene, especially in Detroit where you can hear the influences that those artists had on these tracks.

Review: Given that she released her first solo material way back in 2008, it's taken Factory Floor and Carter Tutti Void member Nik Colk Void a fair old while to get round to recording a debut album. So, has it been worth the wait? Bucked Up Space is certainly alluring, with the modular synthesizer enthusiast charging between mind-mangling analogue techno ('Interruption is Good'), trippy electronic soundscapes ('Big Breather'), buzzing, industrial-strength heaviness (the formidably fuzzy 'Demna'), post-electro wooziness ('Romke'), Radiophonic Workshop style weirdness (the 1960s Doctor Who freakiness of 'Absence Pile Island'), acid-flecked bounciness ('Flat Time') and druggy, slow-motion workouts ('Oversized').

Review: In musical terms, Bill Converse is as iconic as the basketball sneaker with which he shares his name. He's a techno favourite and veteran of the Midwest scene who has come up under the likes of Claude Young and Traxx but very much fomented his own sound. Here the American ace returns to Dark Entries with a new seven-track exploration of raw, analogue-driven techno. His sound blends the acid grit of Relief Records, the hypnotic pulses of early IDM and Detroit's energy all with an unpredictability that mirrors that of his live sets. He makes fine use of classic hardware like the Roland TB-303 and modern modular synthesis to cook up off-kilter rhythms and abrupt shifts that keep you on edge. Another vital and visceral offering from this legend.

Review: Courtesy's second studio album is another no-holds-barred deep dive into the heart of a minimal and tech house dance floor. Eschewing the usual ambient intro in favour of getting right down to business, things kick off with the surging comic-tech of 'I'm Happy I Am Not Susan Sontag', then the slamming drums of 'My Dazed Friend (feat Klo)' come with zoned out and alluring vocal musings. 'Let There Be LOVE! (feat Lyanne)' is another fast but smooth tech cruise with emotive vocal textures and 'Does Every Track Have To Be A Journey?' is a punchy tool which suggests not.

Review: Dance music stars don't come much bigger or more iconic than Carl Cox. The big man with the big smile and famous gap in his teeth has been at the cutting edge for decades. He plays all across the spectrum with high energy and a really infectious style. Now the legend returns with his first album in over a decade and it comes on BMG. It was written over the last two years at his home studio in Melbourne and takes his sound to a whole new level. It is also being played live by Carl on the road right now.

Review: Renowned producer, remixer, DJ and record label owner Carl Craig is one of the few artists who can truly claim to have shaped the sound of
modern electronic music. Making music since the tender age of 17, Craig has created everything from ambient soundscapes to jazz
during the past 20 years, but it's his work in dance music that is at his core. 'Sessions' is a long overdue album that brings together a personal
selection of Carl's incredible back catalogue, from his early work under the aliases Paperclip People and 69 to worldwide hits like 'Throw'
(recently covered live by LCD Soundsystem) and groundbreaking tracks like 'Bug in the Bassbin'. Alongside the classics, the two discs also showcase why Craig is still such a powerful force in music today with a diverse range of remixes for the likes of XPress 2, Theo Parrish and many others. For his rework for Junior Boys'. 'Like A Child' he was just nominated for a Grammy.
The selection also includes previously unreleased tracks, alternative versions of his own productions, as well as some exclusive unreleased
remixes. 'Sessions' reminds us of how exciting and unique Carl Craig's productions and remixes are and why he remains at the top of his game,
a retrospective of one of the world’s most influential and groundbreaking figures in electronic music.

Review: Some 24 years into his career, we know exactly what to expect from Scott Monteith AKA Deadbeat - namely trippy, off-kilter techno heavily informed by dub, underpinned by rhythms that frequently eschew the obvious. Inspired dually by the "five stages of grief" and "the act of speaking one's thoughts aloud alone by oneself", Kubler-Ross Soliloquies - his first solo set in five years - has a defined structure and purpose, within which Monteith giddily goes in all manner of different but loosely connected directions. Compare and contrast, for example, the moody, twisted steppers-techno of 'With Grand Trepidation (Acceptance I)', the hypnotic, spoken word-sporting deep dub techno of 'Huey Lewis Voters Dub (Negotiation)', the skittish headiness of 'Tough Love (Anger I)', and the polyrhythmic, Livity Sound-esque 'The Double Bong Cloud (Denial I)'.

Review: M>O>S Recordings are no strangers to the long player format, having previously issued impressive long players from D'Marc Cantu and Morphosis, but with the label surpassing ten years of activity it feels the right time for founder Aroy Dee to grace us with his own debut album. If you've read up on Dee you'll know he's also an architect with a specific interest in the sprawling structures of Asian cities and this has bled into the aesthetic of MOS as a whole; it's certainly present on Sketches with his own city based illustrations adorning the cover art and an urban sensibility running through his productions here. A doleful serenity is present throughout much of Sketches, though tracks such as "City of Others" and "Ashes To Ashes" fit snugly into the canon of great MOS floor burners.

Review: After a slew of teasers out earlier this year, Deepchord (Rod Modell) eases ever deeper into his overarching chordal masterscape, continuing the 'Functional' theme expressed in his music in recent years. Functional Designs is first full-length LP from the producer in five years, and the teaser 'Strangers' promises more musical development than ever before heard from the enigmatic Detroit producer. It might be best describable as 'progressive dub techno'; airier and more breathable than his early, more subdued works, we're thoroughly impressed by the movement from percussive resonances ('Strangers') to fully ambient finites ('Drassanes').

Review: Swiss-born Deetron (aka Sam Geiser) unveils his debut album 'Twisted' on Belgium's esteemed Music Man imprint. As proven by his constantly expanding catalogue of productions, Deetron is capable of creating tracks that sit happily within the context of a DJ set (something he understands very well), whilst avoiding landing in the often throwaway category of 'DJ tools'. As with many of the more dynamic turntablist-styled techno and house DJs, Deetron took his early cues from hip-hop, before being won-over by the early sounds of Chicago and Detroit. His DJing - then still in its infancy - followed this influence, steering his 'career' in a more 4/4 direction - eventually landing him a resident spot at reputed Zurich club, Trax. Deetron's production career developed in tandem, as is often the case. Early work for labels such as Phont and Intec through the late nineties and 2000, saw Deetron finding his audience (including a string of International club jocks) and developing his own sound. In the last few years, Sam's production touch has graced labels including Cosmic (as Karakter), Ongaku (the 'Lorraine EP'), SLS and the classic Detroit styled 'Miss Suave' on Intec which has become a dancefloor anthem all over the world. Born in Bern, Switzerland, music was a constant in the Geiser family home. Sam's father's activities as a jazz musician ensured that he was surrounded by music from a very early age, sewing the seeds of his own musical interests. But it was hip-hop that encouraged this to flourish into an active involvement in music, during his teens. Sam soaked-up the music of Gangstarr, A Tribe Called Quest and Prince Paul like a sponge and was quick to realise the role of the turntable within this context, taking up DJing in 1992. Early hip-house producers, such as Todd Terry, also captured his attention and Sam began to make the transition to more 4/4 orientated sounds - picking up on the now classic output of Chicago and Detroit based electronic musicians and introducing this into the sets he was, by now, playing around his home town, and further a field in Switzerland. A meeting with Stefan Riesen, head of the fledgling Phont music, led to the release of Deetron's first single - as Soulmate, in 1997 but possibly the most fruitful partnership of his career so far is that with Belgium's Music Man label. Beginning with the 'Dolls For a Diva' 12" in 2001, and including several more 12"s and a superb mix CD that acts as ample testament to Sam's skills behind the turntables, Deetron now releases his first artist full length album. Combining Sam's love of house, classic techno, electro, Latin and jazz influences, 'Twisted' is a beautiful journey through an electronic landscape littered with orchestral sweeps, delicate pads, sublime Robert Owens-esque vocals, dancefloor beats and heart tugging strings. Featuring guest appearances from Subject Detroit's DJ Bone, LA based singer Ovasoul 7, vocalist and guitarist Justin Chapman, who is also one-half of the Atlanta-based DJ/production duo KemeticJust and the one and only Paris The Black Fu from the Detroit Grand Pubahs 'Twisted' is a dancefloor journey from beginning to end. From the opening bass rumble of 'Twisted Memories' to the old school Chicago vox stylings of 'Life Soundtrack' and the Drexciyan wiggle of 'Isotope' to the demented refrains of 'The Afterlife', Deetron shows us that techno can still conjure moments of beauty whilst still keeping us on the dancefloor.

Review: Die Sexual exist in the world of Adult, of Gary Numan on a night out at Kit Kat Club, Cabaret hedonism, phallic and yonic electronic beats, rhythms and other noises. Elektro Body Musique, the title a play on electronic body music, or EBM to the cool kids, takes the bull by the horn with savage, hyper-lascivious futurist club music that makes you feel like the voyeur and objectifier in equal measure. 11 tracks owe as much to dystopian cold wave as electroclash and synth pop, basslines warbling and bouncing beneath blunt instrument kick drums and savage key stabs, all topped with the kind of energy-inducing snares we often worry were left in the glory days of these sounds. Immediately dark, alluring, and suggestive, it's a strong case for giving in to temptation.

Review: Digregorius is back on the My Own Jupiter label with an adventurous double album that features plenty of rather epic electro workouts. Many of them even have adventurous track titles such as opener 'Morfogenesis Incluye Yachay & Monada Y Pleuroma', which is a dark and broody scene setter that drops you deep into outer space. 'Vegetal' has intriguing melodies and busy rhythms flecked with Latin percussive flair and soundtrack motifs. 'Invierno Mesmerizing Incluye Nocturnalia Y Session De Espiritismo' is a mind warping mix of talk box vocals, chattery drums, busted kick and wonky synths. The hard to define madness continues across a land more wild and wonderful electro experiments.

Review: Back in the autumn of 2023, Bedrock co-founder John Digweed delivered Futuro, a four-disc mix made up entirely of new and unreleased music. On this two-disc sequel, 20 of those tunes get the remix treatment, with Digweed presenting them via a pair of typically smooth, evolving journey style DJ mixes. It's typical Digweed/Bedrock fare all told - think deep, immersive and gently melodic blends of 21st century progressive house, tech-house, deep house and (whisper it quietly) colourful neo-trance. There are some surprises though, such as the dub-flecked, tops-off techno hyonotism of Digweed and Nick Muir's rework of David Morales' 'Diridim', Spencer Brown's gorgeous and tactile revision of 'Alraegadir' by Rodriguez Jr, and Loz Goddard's progressive breaks re-build of Digweed and Muir's 'Futurascent'.

Review: If you like acid, and you like it deep, then keep reading. Dircsen has put together an album of just that for Gated across four sublime sides of wax. Helical Structures operates at the intersection of those sounds and more, with a range of different tempos explored from the unhurried 'Fragments' which spits out random hits and has a nice lo-fi edge to the more high pressure acid of 'Helical Structures' with its undertone of bass lead menace. 'Jack In The Head' is a more classic acid cut with nods to the Chicago pioneers and 'Synthetic Rhythm' (Know Where mix) is perfect for both body and head.

Review: Although instalments are few and far between (the last one dropped eight years ago), Terrence Parker's From The Far Future album series contains some of the Detroit veteran's finest work. The latest volume - Part 3, fact fans - continues this trend, mixing weightless, deep space ambient with a wealth of Afro-futurist techno and tech-house works that make great use of impeccably programmed, loose-limbed rhythms, twisted synth lines, and aural textures that are genuinely cinematic in sound and vision. The plentiful highlights include warehouse-ready club cuts 'Unconditional Love', 'Spectrum of Light' and 'Out of Darkness', and the ambient sprawl of 'Remarkable Wanderer'. Sci-fi techno at its finest.

Review: DJ Bone is a Detroit titan. He plays on the decks with high energy and next-level skill that few can match - which is why they call him the Terminator. He pulls no punches in the studio either, crafting all killer no-filler club weaponry as exemplified here by his new album Further. This is top-level techno on his own Subject Detroit label with lashings of machine soul, futuristic ideals and evocative atmospheres. Some cuts sink into deep inner grooves and take you on a mindful trip and some are more wildly expressive, but all of them bang in the club.