Review: A dynamic journey through the roots and evolution of techno, blending nostalgic sounds with fresh energy, this EP begs to be played loudly. Side-1 opens with the title track, 'Love Generator', a powerful, rave-infused anthem that captures the essence of the 1991 vintage techno sound, full of raw energy and passion. 'Flawless Victory' follows with a heavy Belgian techno influence, harking back to rave's origins but with a modern, revitalised beat that feels both classic and innovative. On Side-2, 'Watch The Collapse' begins with a heavy breakbeat and iconic Hoover-type sound, before seamlessly transitioning into acid techno that builds tension and intensity. 'Code Breaker' brings a minimal, bleepy techno vibe with space probe-like sounds, steadily building towards a climactic peak. The EP closes with 'Nocturnal Beings (vs Human Rebellion)', an electro-sci-fi masterpiece that wraps up the journey with otherworldly sounds and a futuristic edge. A forward-thinking, genre-defining release that honours techno's past while pushing its boundaries.
Review: Huey Mnemonic's Brainscraatch is a futuristic cruise through Detroit's Afrotechno. Opening with the earth-shaking 'Ankhobi', Mnemonic builds a soundscape where ancient rhythms meet sci-fi, as drums pulse like a ritual ceremony projected into the year 3000. The title track, 'Brainscraatch', amps up the intensity with hypnotic beats and piercing electronics that make even the back-of-the-room heads take notice. Closing with the darkly mesmerising 'Slipping Into Madness', Mnemonic transcends dancefloor limits. Sard's 'Rescratch' adds an acidic twist, grounding the EP in Midwest roots while looking boldly ahead.
Review: By now, at least one dimension of the electro genre has turned out so misanthropic that one of its keystone artists has called itself Human Rebellion - as if to suggest humanity is the exception, not the rule. With the artist now debuting on Hilltown Disco after a wonderful eight EPs so far, this one hears the so far faceless bot push themselves to 'Outer Limits' by way of a waspish bluebottle buzz line, then break through the proverbial 'Magnetic Field' to revelatory effect: deep pulse leads and firm kicks, awash in a sense of broken-free elation. 'Endless Day' and 'Exploration' harken the B-side, dystopi-fying the proceedings through a relative industrial feel, implying a robot crackdown on human insurgency. The former has a brilliant breakdown, with a short cyborg monologue opining, railing against guinea pig-style entrapment: "I want to get out if this experiment. Aren't there enough testable subjects...?"
Review: French duo Human Rebellion mark their debut record on Alienata 's Discos Atonicos label with 'Polymorph', a four-track killer of an EP on which no hands are held nor holds barred. Here, a bluely glowing biomechanical fusion of techno, acid electro and breaks is yielded in a kind of vital suspensory vat. Human Rebellion are unconcerned with sonic purity, to the extent that much grit, scum and texture still redounds in each mix. The techno-angelic anthropo-throne depicted on the front cover is no less responsible for this line of thinking either. The powerful influence of early 90s electro-techno is heard throughout; and here's hoping that after we've listened to the record, the CRISPR-modded, posthuman abomina-prototype born of it doesn't kill us all.A
Review: Killowat Hour is a collection of 90s-inspired gems that seamlessly blend new and old influences. On Side-1, LP Rhythm's 'Want Your Love' kicks things off with a nostalgic nod to prog and euro house, delivering a distinctly 90s vibe. Aida's title track, 'Killowat Hour,' ventures into futuristic techno territory, incorporating elements of new beat for a modern twist. Mance's 'Cross Reference' follows with bouncy techno rhythms, smooth melodies, and trance influences that keep the energy flowing. Other highlights include Hottpretty's 'Make Me Yours,' which takes listeners on a trancey, heady journey through early 90s techno, offering a vibrant and energetic experience. Mad Again's 'The Night' closes the collection with deep euro house vibes, adding a layer of sophistication to the nostalgic set. This compilation is idea for those who like deep house and those who appreciate the balance of classic and contemporary sounds.
Review: The Clergy Ten Year anniversary celebrations continue with a fourth special instalment of their various artists series. It's packed again with the sort of high-functioning techno that DJs always need to construct powerful sets, and that dancers will respond well to thanks to its detailing. Norbak opens with the moody minimalism of 'Sinto', Sciahri explore a more uptempo sound with grainy, gritty loops on 'Antartide' and Phara's 'Faint' gets more twisted with hellish effects and caustic textures all getting you on edge while the pummelling drums bounce out their muscular rhythm. These are evocative cuts for techno storytelling.
Review: The Positive Reaction label is looking to build bridges between North Africa and the rest of the world with the music that it puts out. It has roots in both Tunisia and Berlin and has a healthy respect for 90s electronic takes on electro, breakbeat, techno and trance, which all shine through this new six-track VA. OA gets underway with hard-nosed techno, H0ney serves up lashings of peak time energy and BENKHLIFA drills down into the darkness with a blistering baseline and white-knuckle techno intensity. Elsewhere, MZA's 'Thelea' brings more low-end dirt and DEV's 'Love Affairs' brings lush euphoria.
Review: London underground night train riders Deadbeat Records prioritise techno-breaks handmade for late night and early morning dancefloors, times when both the best and worst comes emerges from each of us. Their inaugural Deadbeat Breaks compilation hears six out of ten full digital curations brought to a shadowy, space-invaded black vinyl truncation, with modern talking synth vomits from Olly Rant, booty bass hups from Hunter Starkings, hackney parroting hurtles from Rnbws, and a closing breakstep broil from Hooverian Blur.
Review: The Echoes Of The Void EP by Sciahri and Hertz Collision on the Clergy label delivers a potent collection of hard-hitting techno tracks. Side-1 starts with 'Orbital Resonance,' which channels the energy of early 2000s techno, reminiscent of the likes of Bryan Zentz, Danilo Vigorito and Hardcell, with its tribal and forceful vibe. 'Luna Echo' follows with relentless loops that maintain an aggressive edge. Flipping to Side-2, 'Glowing' taps into the deep, underground essence of techno, with a sound that feels as if it's emerging from the depths of a dark, subterranean world. The title track, 'Echoes Of The Void,' continues the journey with a powerful groove, while the Kontain remix amps up the intensity, offering a more driving and dynamic version. This EP is great for those who crave intense, finely crafted techno that resonates with both energy and complexity.
Review: 'Axis Mundi' is the latest offering from label head Sciahri and Hertz Collision and it follows on from their acclaimed collaboration on Clergy. For this one, the Italian duo returns with a textured, nuanced techno journey starting with the title track which opens with razor-sharp sounds and driving rhythms setting an electrifying tone. 'Drifting' follows and weaves hypnotic grooves and floating synths into a slick voyage. On the B-side, 'Entropia' introduces a mind-bending synth that launches the track into another realm, while 'Silent Pulse' closes the vinyl edition with minimalist elegance-a refined piece suited for any moment of the night.
Silence Of Love (feat Jesse Boykins III - Reznik remix) (7:05)
Review: Tiga's stripped-down electronic funk and Hudson Mohawke's bold beats share a common threadian idea Tiga dubs "hardcore romance." Recorded in Los Angeles, their collaboration evolved across various tracks that ultimately shaped their debut album, L'Ecstasy. Turbo revisits the project with a series of club-ready remixes featuring Keinemusik's Reznik, Montreal duo Priori & Patrick Holland as Jump Source and Berghain regular Quelza. These hard-hitting remixes are pressed loudly on a striking 12" picture disc featuring iconic imagery from renowned photographer Wolfgang Tillmans.
Hazmat Live - "The Marriage Of Korg & Moog" (4:50)
Review: Passing Currents aims to stand out from the predictable by offering a deeply human touch in its music. This five-tracker backs that up by melding academic expertise with dancefloor intuition and the A-side features txted by Phil Moffa remixed by Yamaha DSP coder okpk after they met during doctoral studies, they flip technical mastery into bass-driven energy while Atrevido' fuses California warmth with analogue electro, Josh Dahlberg's rediscovered 2009 electro gem, 'Ass On The Floor', still bangs and Detroit's Kevin Reynolds delivers hypnotic grooves before Hazmat Live pushes boundaries with a sound rooted in soulful, experimental innovation.
Review: Per Hammar and Berlin-based label Sushitech are a match made in heaven as both have long since proven their credential in the world of dub techno. As the label turns 20, it kicks off its year with an album that has been two years in the making and features a top-quality array of dub techno sounds. Malin Genie features on two of the more kicking and propulsive cuts, while Jannik Jivung adds an organic touch to two more. In between those sounds are percolating slow-mo jams like 'Representant Dubb' and more kinetic sounds like 'TX Files' with its fresh kicks and rolling bass.
Review: The now 20-year-strong Sushitech have been working on this one for two years and finally it drops - a new album from cultured dub techno don Per Hammar. This is a seriously deep journey into his signature sound that melds the genre's most classic side with a fresh modern twist. Cuts like 'Generation Drive' have a nice crisp sense of motion as well as lovely warped pads, while 'Juvial' brings a sense of curiousness with its undulating drums and bass. 'Defender' leans into sleek techno styles and will have you cruising in no time. An instant classic album, for sure.
Review: Having built plenty of hype over previous outings, Hardacre finally drops this long-awaited debut on Alien Communications. It's a standout long player with acid, house, electro and techno all jumbled up into effective, 'floor-facing sounds that are high on power. There are lithe, metallic twitchers like the Kraftwerkian 'Transmission' as well as more future-facing and acid-laced bumpers such as 'Alien Intelligence' with plenty of cinematic and atmospheric bits like 'Radio Command' in between. A classy take on a classic sound.
Mike Parker - "Shakuhachi Two" (Hardspace mix) (4:50)
Review: Released on lovely transparent blue vinyl, the fourth volume of Figure's Hardspace series offers six fresh reinterpretations of Len Faki's favourite tracks under his staunchly underground Hardspace alias. Josh Wink's 'Sixth Sense' gets a powerful low-end rework while Aoki Takamasa's minimalist dub transforms into a high-energy and peak-time slammer. DJ Yoav B's iconic 'Energize' reaches new rave heights with its relentless groove and Huxley's dark take on 'Weapon 3' comes on with explosive force. Tuttle's 'Function' ups the intensity with Faki's signature claps and sirens while Mike Parker's '90s classic 'Shakuhachi Two' gains extra drive with Hardspace's propulsive percussion for a dynamic techno workout.
Review: Detroit dub techno don Luke Hess says that this is his "most eclectic and techno-driven album to date" and that it blends together his signature subterranean sounds with his indelible Motor City touch. It again works well on cultured dance floors but is also a deeply spiritual album that will have your mind wandering to some lovely places. From the opening moments of 'Dokimion' you're sunk into widescreen soundscapes that pair painterly synths with immersive low ends. Cuts like 'Stoicheo' bring serene melodies and closer 'Hiketeria' is a misty, foggy cut that oozes late-night intimacy.
I Swear It's A Bop (feat KAYY & ALLGIRLSALLOWED) (2:17)
Fitness By King Milo (2:07)
Review: After a recent release on CD following its first outing on Omar S's FXHE, Diners Club International now drops Hi Tech's self-titled album on cassette with some added bonus joints. It's a thrilling, pacey listen that whisks you off your feet and through a world of juke, footwork and ghetto beats that are all drenched in soul. The cuts are short and sweet, from the smudged and smeared r&b overtones of 'Funny Fuckits' (feat Nila & Stefan Xix) to the heavily filtered and trap-style 'Fitness By King Milo.' It's a futuristic sound steeped in fresh and inventive rhythms and heartfelt emotions.
Glitch N Ass (feat Cheapskate Skutta, Dastardly Kids)
Birthday Pearls (feat QuikKash)
Pocket Pussy (feat Milfie)
TakeOffOnnaPorsche
TeeTees Dispo (feat Sprng4evr)
No Games (feat Nlghind, Dastardly Kids)
Track 13
Track 14
Track 15
Track 16
Track 17
Track 18
Review: After its initial release on vinyl on Omar S's FXHE last summer, Diners Club International have put together a new CD version of Hi Tech's Dttwat album featuring some new bonus cuts. It's a stylish blend of Motor City beats, ghetto energy and r&b vocals that all get cut up and chopped and spliced into short, quickfire but potent tunes that make a lasting impact. A wide range of guest vocals come from Cheapskate Skutta, Dastardly Kids, Nlghind and many more so these beats brim with colour and character. With the added bonus cuts this is a must-cop CD direct from the D.
WhyYouFuggMyOpps (feat Link Sinatra, Ciarah) (2:26)
Glitch N Ass (feat Cheapskate Skutta, Dastardly Kids) (3:12)
Birthday Pearls (feat QuikKash) (2:17)
Pocket Pussy (feat Milfie) (1:51)
TakeOffOnnaPorsche (1:59)
TeeTees Dispo (feat Sprng4evr) (2:31)
No Games (feat Nlghind, Dastardly Kids) (2:54)
Review: Diners Club International recently served up this Hi Tech album, Detwat, on CD, but now backs that up with a limited cassette version featuring some bonus cuts. It originally got released on Omar S's FHXE label and is a sleazy and high-speed ghetto workout with filthy low ends aimed well and truly at the rump. Juke, footwork and plenty of spin-off styles are all chewed up and spat out with plenty of top collars and guests adding colour. There are pumping beats and fractured vocals on 'Money Phone', Drake style trap vocoders on 'TakeOffOnnaPorsche' and bright, reflective, optimistic chords over hurried beats on 'Glitch N Ass' (feat Cheapskate Skutta, Dastardly Kids) amongst many more highlights.
Review: This is a new CD version including bonus tracks of Hi Tech's self-titled album which comes here on Diners Club International but first landed on Omar S's FXHE. It is a full ghetto tech workout with pumped-up booty-bouncing beats that traverse a wide range of tempos. The high energy highlights come thick and fast with the likes of 'Big Prism' riding on juke beats, 'Milf Milo' bringing some lithe synth chords and raw claps and 'I Swear It's A Bop' (feat KAYY & ALLGIRLSALLOWED) featuring broken drum patterns, glistening synth stabs and r&b vocals full of soul.
Review: Jamal Moss aka Hieroglyphic Being is one of the most fearless experimentalists in house and techno. He confronts dancefloor disillusionment head-on with Dance Music 4 Bad People, his raw, uncompromising debut for Smalltown Supersound. A veteran of Chicago's club scene, Moss channels four decades of history, highs, lows and trauma into an album that defies escapism. These are not crowd-pleasers but cathartic confrontations dense with abrasive synths, molten drum loops and uneasy textures which all crash together in chaotic, transcendent layers. There's no clean resolution anywhere, instead just tension, dissonance and moments of stark beauty. Far from a nostalgic Windy City love-in, Moss' music reflects a dance culture in crisis and provides a place to rage against it.
Review: This 30th anniversary reissue celebrates a groundbreaking electronic release that continues to stand as a benchmark for minimal techno. Originally released in the early 90s, the album introduced a stripped-back sound that pushed the boundaries of the genre, focusing on elemental rhythms and sparse, hypnotic structures. The music is deliberately repetitive, drawing listeners into a digital wormhole where subtle variations in looping basslines and synthetic polyrhythms create a mesmerising, almost alien atmosphere. Tracks like 'Home' laid the groundwork for ambient techno movements, with their intricate yet minimalistic percussion and atmospheric sound design. Despite the minimalism, the album is packed with sonic depth, offering everything from digital chirps to crunchy metallic percussion, creating a sense of space that allows each element to breathe. The reissue's sharper sonic clarity enhances the album's subtle density, making it even more immersive. This release not only codified a new era of techno but also remains a timeless, hypnotic gem. Its influence is still felt today, proving that even the simplest sounds can create profound, futuristic music.
Review: Jon Hopkins' forthcoming album Ritual spans 41 minutes of uninterrupted sonic exploration, drawing inspiration from ceremony, spiritual liberation and the hero's journey and creating a dense and immersive soundscape that showcases his mastery of depth and contrast. Collaborating with long-term partners like Vylana, 7RAYS, and Ishq, as well as newcomers like Clark and Emma Smith, Hopkins weaves together cavernous subs, hypnotic drumming, and transcendent melodies to craft a sonic experience that is both emotionally and sonically weight. Ritual sees Hopkins' evolution as an artist, building upon themes explored throughout his 22-year career while venturing into new sonic territories. The album's first single, 'Ritual(evocation),' offers a tantalising glimpse into this expansive sonic landscape, with its hypnotic rhythms and darkened soundscapes drawing listeners into a world of introspection and catharsis. With its warm, live feel and seamless blend of softness and intensity, Ritual promises to be a transformative listening experience for fans of electronic music and beyond.
Review: With Ritual, electronica mastermind Jon Hopkins follows up his storied meditation-aid LP, Music For Psychedelic Therapy, for a return to the sublime uplifts that characterised his establishing sound. Somehow, Hopkins says of his latest full-length, "I have no idea what I'm doing when I'm composing. I don't know where it's coming from, and I don't know where it's going, nor does it seem to matter. I just know when it is finished." Such remarkable humility sits in in stark contrast to the deep grandeur of the record, which refreshingly seems to have been made without overconscious intent; Hopkins' describes his approach to the album as a simple matter of creation, without too much second-guessing or reasoning after the fact. This would seem to counteract Psychedelic Therapy's interest in self-reflection and personal enlightenment; Ritual, as we glean from the title, is more action-oriented, pursuing the many epic pilgrimages and blue beyonds that Hopkins was first known to have embarked upon.
Review: At this point in his career, it seems that classically trained pianist come electronica visionary Jon Hopkins can do no wrong. Whether we're thinking of his unmistakable all-time great LP Immunity, or his more recent inward-bound journeys into a trippy serial panacea, Music For Psychedelic Therapy, the musician, in Domino's own words, is an established auteur, capable of casting a whole range of dark sonorous arts perhaps only the most storied audio wizards can cast. His latest record, Ritual, is the latest utterance to escape the Hopkins grimoire; staying true to the adage that a real magician simply does not reveal their secrets, Hopkins is deliberately cryptic about the meaning of Ritual, except for the fact that his music-making process is itself a ritual. Humbly, he insists "I have no idea what I'm doing when I'm composing". Well, from the various sublime, epiphanic, master-warlock's evocations heard across this record, it sure doesn't sound like it!
Review: We have been digging in the warehouse and have found some copies of one of the faultless EPs that Detroit house royalty Mike Huckaby put out in his lifetime. It features three tracks that are all steeped in deepness and dubby goodness and are unlikely to ever age. 'Wavetable No. 9' is spaced out and rather menacing in a subtle, sparse way. 'Fantasy' is a more airy and light cut with meandering melodic leads and thinking keys that bring a cosmic feel. 'Jupiter' closes out with nimble bass and splashy hi hats joined by conversational synth leads that glow with a late-night warmth. Included in this is a CD featuring plenty of the samples used in the making of the tunes using the Waldorf synth.
Review: Much missed Detroit techno legend Mike Huckaby created The Down Under Kit for the Australian leg of the Red Bull Music Academy's world tour and it's so much more than a simple sample pack, as Huckaby gives a narrated tutorial on creating templates and generating ideas, a fascinating glimpse into his philosophy and techniques. Obviously, there are lots of thumping kicks, distinctively trademark pianos and pads and more to load up, but this pack not only gives you the means of production, it also gives you a guide to how to put it to its most effective use.
Review: Hypnotone's iconic self titled mini album reissued and released just in time for this Summer Solstice. Originally released by Creation Records in 1991 - long out of print and now reissued - this one comes now meticulously remastered and pressed onto pristine white vinyl, aesthetically bolstering its pure, ascendant sound to match. The Hypnotone moniker was formed out of the bemused miasma that came after the wake of the infamous Hacienda nightclub in Manchester; made up of another related but no less legendary Tony (Martin, not Wilson) and yet another Martin (Mittler) (don't get confused, now), their eponymous debut came after an inspirational spell of digital sampler experiments and intentional Balearic hitmaking.
Review: As part of Amniote Editions' fifth birthday, the admirably experimental label has decided to release a full-length excursion from Mirror Zone founder Spekki Webu, AKA Heliobolus. The multi-disciplinary artist has decided to utilise both aliases on the album, a way of reinforcing the key conceptual idea behind it - that it is a "story of intertwined storylines" akin to "parallel universes that connect and diverge". Musically, it's an intriguing affair, with pulsating, full-throttle sci-fi techno workouts sitting side by side with darker, more intense cuts, sound design-heavy experimental techno soundscapes, and nods towards the horror end of the cinematic soundtrack spectrum. Throw in a few mutant, noise-laden post-IDM compositions and you have a genuinely impressive full-length excursion.
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