DJS: MOST CHARTED - TECHNO - MOST CHARTED IN JANUARY 2016

Review: A fixture of Parisian clubbing since before the Institubes-era, Jean Nipon lands a mighty debut release on LIES with this three track 12" credited to him and The Magendie High School. If you've checked some of Nipon's recent material for ClekClekBoom you'll know this alliance with Ron Morelli's label makes perfect sense and we can only hope it's the first of several releases on LIES from the Frenchman. Provocatively titled lead track "Tepco Cunts" sounds like a beaten down and (French) touched up refix of Beau Wanzer LIES classic "Balls of Steel," whilst B-side opener "Women's Facility (Conjugal mix)" showcases a dustier side to the Nipon palette. This approach continues on the final cut "Avoid Romance" which showcases some delicious tape-warbling melodies. A great 12".

Review: It's nearly three decades since Glasgow's legendary Sub Club first opened its doors. After all this time, it's decided to celebrate its part in promoting electronic music culture by launching a record label, Nautilus Rising. This first EP contains material from a quartet of Scottish producers. Vince Watson kicks things off with the undulating synth bass, classic Detroit chords and wide-eyed shuffle of "Subculture Story", before Stephen Lopkin enhances his rising reputation with the glacial electronics, tumbling melodies and raw analogue drums of "Goodbye G41". Flip for Lord of The Isles' "XIT" - a ragged acid house/Italo disco fusion that's amongst his most robust releases to date - and the discordant, late night wonkiness of Alex Smoke's "Straits".

Review: On the day today tonight, Portillo's teeth removed to boost pound. And Ethyl and Flori go swimming at St Lamb's pool in Acton - happy now?

Review: It's been a delight to see Oliver Ho's Broken English Club project develop artistically over recent times, with some fine records for Jealous God and Veronica Vasicka's Cititrax label along the way. Suburban Hunting sees Ho deliver his debut Broken English Club album, featuring some 11 tracks of primitive electronics and cinematic pseudo techno cuts. Tunes like "Vacant", "Derelict", or "Scum" all share a loose techno framework, but the real aesthetic is much vaster than that, verging on remnants of post-punk, industrial and all that goodness and hybrid class that came out of the late 1980's. It's another fine addition to the sublime Cititrax discography, and we recommended it just as much as the previous numbers.

Review: Whether using the ambient Rings Around Saturn guise, or more dancefloor-focused Dan White alias, Rory McPike's influences always tend towards the vintage. Following a one-track contribution to a Butter Sessions 12" last year, the Melbourne-based producer makes his full debut on local label with a trio of cuts that explore the sounds of the early '90s in a number of different ways. This is perhaps most apparent on A-side "The Hammer (Think Mix)", where orgasmic gasps, 808 State chords and Detroit-influenced melodies usher in a pitched-down hardcore-era breakbeat, rave sirens and surging sub-bass. "Just A Beat" doffs a cap to the more psychedelic end of early-90s techno, while the immensely beautiful "Sacoid" joins the dots between ambient house, intelligent techno and the deeper end of Motor City grooves.

Review: Having established their Ilian Tape label over a wealth of 12" releases these past few years, the brothers Zenker have expanded its remit to include artist albums in the most thrilling of fashions. Their own Immersion LP set the tone early last year, and now it's the turn of fellow Munich-based DJ and producer Skee Mask with the superb Shred. This 12-track set follows a couple of Ilian Tape singles from Skee Mask which marked him out as a producer of real potential but he's really outdone himself on Shred. There is a faint concept for those that want one, an expansion on his interest in snow and glacier caps, but it's easy enough to plunge headfirst and enjoy this LP on the merits of the music alone. Ambient pieces slide into thunderous techno productions and thrilling sideways turns into broken junglist cuts and vintage IDM sounding diversions.

Review: REPRESS ALERT: Not An Animal return with their 2nd installment, this time from Ess O Ess (aka Chris Stoker and Jamie Blanco).

Their original offering, Cantillate, isn't an easy beast to identify, being equal parts Swamp-Rock and Techno.
Imagine you've stumbled across an ephedrine and moonshine fueled rave in a deep Louisiana bayoux in the year 3000, and you're close. Add an out-there vocal refrain, and you'll start to appreciate why this is a particularly distinct record.

Relocate said rave to a some kind of Space Ship hitting hyperspace, with photon torpedoes fully armed, and you'll suddenly find yourself with the first remix, as created by Ene Records owner Chida.

Continuing the hybrid vibes, the final remix as provided by man of the moment "Suzanne Kraft" (yes, man), takes a juxtaposed tropical techno (with added dub) approach to his interpretation.

The overall effect of all 3 mixes is a pleasingly schizophrenic release which drips with multiple personalities.

Review: Ben Sims' Symbolism continues apace with a release from Binny, a Liverpool-based producer DJ otherwise known for some superb output as part of Phantom Planet Outlaws. Comprising three original tracks, the Subtractive Rhythm EP also takes in a remix from long-time Sims collaborator and British techno legend, Paul Mac.

Review: Bristol-based Londoner Semtek has been busy during 2015, ensuring a steady stream of releases on his Don't Be Afraid imprint. Following hyped EPs from Neville Watson, Mr Beatnick, Herva and Ben Cohen, he welcomes back DJ Bone under the Differ Ent guise. It's a sombre tone that sees the Detroit icon return too, with both these tracks produced by Bone in the immediate aftermath of his mother passing away after battling cancer. The 10-minute "MOM" is something of a throbbing, pulsating techno delight, with the Detroit veteran adding colossal organ chords and mind-altering electronics to a stomping, brain-melting groove. Bone goes deeper on similarly epic "The Final Driver", combining shuffling techno rhythms and alien electronics with warm, deep chords, and the melodic ethos of Omar-S style Detroit house.

Review: The young Ukrainian producer follows his debut on Ben Klock's label with this innovative, unusual techno record. "Axiom" is reminiscent somewhat of DVS1, with its meaty bass snaking its way through an insistent, minimal groove. By contrast, "Sakura" resounds to microscopic beats and hypnotic, tonal bleeps. It's just as subtle as "Axiom", but far more understated. This proves to be a temporary diversion however, and straight afterwards, he drops "Lyrae". Tight claps, insistent pulses and bristling percussion make for a functional but distinctive dance floor track. Last and possibly best of all is "Luna". Its melancholic bass and windswept, mysterious melodies make for a beautiful, unexpected end to this release.

Review: Mister Saturday Night's second release of the week comes from a new Glaswegian producer, the enigmatically names Atlus, who drops the fresh and exciting "Zopiclone", a bizarre and squawking house cut that jitters its way through stumbling low-ends and brittle pieces of percussion. While that is certainly the stand out moment in terms of pure oddity, "Gum" is nothing short of excellent, and its funky disco swing truly hits the spot, whereas "A Little More Time" is the downtempo sibling, the part of the EP that is open to interpretation and one beautiful beatless sway of melodies.

Review: The romping stomping Daniel Avery, is back on Phantasy Sound with a new two-track 12" which doubles up as the label's 50th, and continues the English producer and DJ's path down a streamlined, hard-edge techno path. Unsurprisingly, "Sensation" is a total juggernaut, a heady techno track that slithers its percussion sway amid huge mounds of delays and atmospherics. Over on the flip, "Clear" sticks to a techno formula insofar as its mid-to-fast tempo, but the melodies and chimes emanating from its underbelly are something wilder and altogether more ethereal. Conniving DJ tools!

Review: Throughout the noughties, UK producer John Harvey delivered sporadic bursts of Detroit-influenced, atmospheric techno brilliance on Delsin under the D5 moniker. Here, the long-running Dutch techno imprint looks back on Harvey's often-overlooked career, gathering together a scintillating range of classic, lost and forgotten gems over a sumptuously packaged triple-pack. What shines through most is Harvey's effortless grasp of mood and melody, with each spacey, heart-aching composition coming smothered in classic Motor City melodies, supernova chords and glistening electronics. Whether heading for the dancefloor via hypnotic, rolling groovers, or showcasing his love of IDM and ambient techno for those feeling the post-club sofa vibe, Harvey rarely got it wrong. An essential purchase.

Review: Before landing on Berlin's mighty Tresor, Parisian Zadig made a name for himself on labels like Syncrophone and Deeply Rooted House, offering both house and techno as his specialities, but it's safe to say that his tunes were driven by the latter. "The Stellar Hunter" is, in fact, a heavy, menacing floor tool fit for the likes of any of the world's biggest dance floors, and the same goes for "Beyond The Portal Of Madness", a more contained techno bombshell for the passage mixes, and "The Man From Outerspace" - an ode to Jeff Mills? Possibly.

Review: As the Dekmantel brand expands to incorporate the Selectors festival in Croatia, the Amsterdam collective still remain focused on delivering quality house and techno singles and albums. Another fine year for Dekmantel ends with the welcome arrival of Invisible Switch, a second album from US techno artist Joey Anderson. His is a unique and at times alien take on the artform, crafting percussive textures and oddly intoxicating synth lines that sound unmistakably like Joey Anderson and no others. This is very much the case with Invisible Switch, with tracks like "Reset" and "Tell Us Where" instantly gripping your attention and not letting go, whilst "Amarna" is the most bludgeoningly intense production yet from Anderson. The EOY list compilers will be kicking themselves they missed out on this one.

Review: Rezzett are arguably one of The Trilogy Tapes' "go-to" acts. The London duo has previously released a trio of impressive, off-kilter EPs of fuzzy house and techno jams for Will Bankhead's much-loved imprint. Happily, Zik Zak is every bit as essential as their previous material, expertly blurring the boundaries between techno, experimental electronics, and distorted hardcore. While the drowsy-but-sweaty "Hey Hugo" - all sampled vocal yelps, sweeping chords and clattering percussion - is probably the most obviously ear-catching of the four cuts, there's plenty to get excited about elsewhere. Check, for example, the intricate electronics and eyes-closed loveliness of the title track, and the fluid melodiousness of opener "Afyon" - or, for that matter, the comforting bliss of EP closer "Noklue".

Review: You could never accuse Parisian artist Coni of releasing too much music; to date, the ClekClekBoom-affiliated artist has released just three EPs in four years. Clearly, these releases have impressed The Trilogy Tapes founder Will Bankhead, as he's snapped-up a four-track EP from the talented French producer. It's the A-side that sparkles the most immediately, beginning with the curious looped sound effects, slashed jazz chords, swinging rhythms and bubbling electronic hits of "Into The Silly World". Arguably even better is "Zex Plongeon". While not as thrillingly unusual as its' predecessor, it feels more obviously tailored to club play. It's creepy, deep, drowsy and tense, with slowly pulsing chords and ghostly textures stretching out over a tidy techno groove.

Review: There's been a fair bit of hype surrounding this second album from Stuart Li under his now familiar Basic Soul Unit guise, and it's not hard to see why. Dropping on Dekmantel some three years on from his Still Music released debut album Motional Response, Under The Same Sky revels in its' instinctively atmospheric and floor-friendly blend of classic Detroit, Chicago and - more surprisingly - British techno influences. As usual, the chords are deep and spacey, the melodies bold and shimmering, and the beats rough and ready. The results are splendid from start to finish, with the early LFO-influenced smasher "Fate In Hand", thunderous "Temptress" and sci-fi brilliance of "We All Want To Believe" amongst the numerous highlights.

Review: Pluralism presents more of the sure fire banging techno that you've come to expect from James Ruskin's Blueprint and Sigha alike. Title track "Pluralism" features a savage 808 stomp that bangs and hisses all over the shop beneath a hypnotic analogue melody and white noise. "Desire" crosses over into electro for a moment it seems, until its breakbeat turns into an off kilter four to the floor stomp, blended with Sahko style bleeps and evil snarling sub bass. Finally "Demonstration" is a restrained and minimal excursion featuring whirling analogue melodies, modular white noise hiss and a subdued dusty rhythm.

Review: Nina Kraviz seems to have a thing for double-pack compilations. Of the first three releases on her label, Trip, two were double-vinyl sets featuring contributions from a wide range of artists. This fourth missive from the imprint sticks to Kraviz's tried-and-tested formula. Predictably, it's stuffed with high-grade material, from the wonky, acid-goes-bump madness of Population One's "Demonstration 9", and low-slung techno throb of Bjarki's "PC Muscles", to the out-there jack attack of Fred P's "Higher Mentalism (Edit)", and raging, "Energy Flash" style madness of Vladimir Dubyshkin's "Hair Like Strings Like A Harp". The Siberian label manager's own contribution, the freaky anthem "Let's Do It", is arguably one of her strongest cuts, too.

Review: There is little to say about David Flores and his Truncate alias apart from the fact that we've been big supporters of the label for years, and that he's given the go-to guy when you're yearning for some militant, stripped-back techno goodness. In fact, "Culture" is more house-centred than his usual material, but that's only because of the tune's repetitive vocal sample, while both "Track 2" and "Track 3" are more representative of Flores' usual style; the former chucks sparse 909 drums over classic Chicago sirens, and the latter goes for the bleepy treatment, making the perfect score to any Berghain set.

Review: Following it's recent reactivation and releases from JC & Kastil and D_Func, Ben Sims' Symbolism imprint sets out it's autumn stall with a blistering four tracker from Alphadrum. Rigourously roadtested by Sims himself over the past six months, this is an essential release from young italian producer, Alphadrum.

Review: House music's biggest act of the moment return with more of their signature style of dark journey tracks, this time for the legendary R&S Records. The moody and tunnelling "North Star" features all the elements you've come to expect from Conte and Milleri; layer upon layer of lush melodies, sinister atmospherics and a beat that chugs away like a steam train through the darklands. "Silent Space" is a bit more straight ahead; a rather pounding techno number with snarling synth leads zooming above hissy, white noise infused high hats, thunderous toms and dark strings. It has all the essentials for a track that will devastate a dancefloor near you soon.

Review: Few labels have quite as successfully channeled the original spirit of Chicagoan acid house and early British techno than Super Rhythm Trax. They're at it again here, serving up a trio of 1990 style, rave-era British acid house/techno tributes from former Skudge Presents and Dixon Avenue Basement Jams man Jared Wilson. The three tracks could be considered riffs on a theme, as each - in different ways - reminded us of Orbital's early work. Choose between the bold acid lines and jack-track beats of "How Deep", the acid melodies and "Belfast" style chords of "Plate Mining", and the pleasingly alien acid-funk of "Idea of A Deep State".