Back catalogue: Techno (Alles)

Review: Four fresh new ones from the Molekul crew in Paris. The title 'Heavy Rotations' plays on the affective "heaviness" of toting records around the world and DJing them at raves; it's no wonder they say that where there is repetition, as in techno, there is unfinished business (in this context, the word 'rave' is no coincidence either). Needless psychoanalytic accounts of repetitive beats aside, the tools on this heavy-set, heavyweight, heavy-hitting 12" record - which merge the heavy-metallic industrial works of Beau Didier, Isaiah, and Flits - are hard, yet gut-wrenching enough to loosen even the tightest of screws. The tracks therein are speedier even than a mighty Mitre saw, by which the hardest of woods are split into two; and you can be sure that, like a saw, you'll soon see and hear these cuts on heavier rotation too.

Review: 'Toro' is a modern classic post-punk track by Spanish band El Columpio Asesino, formed in 1999. Thoroughly difficult to classify or put into any neat box, their sound is characterised by synthesised elements and sinister rhythmic singing, with cryptic lyrics heard throughout. Here techno titan I Hate Models lends 'Toro' a surprise sped-up remix of a remix, remixing the ultra-dry retro-nostalgist version by Andre VII. Whereas Andre's is a drier take on the track - setting its dark-wavey lyrics against serious buzzing saws and scary sixteenth-note stabs in true synthpunk fashion - I Hate Models' version expounds on this further, fleshing out hardcore rollicks and luxury woops for a sublime, floor-frightening ultimatum in sound.

Review: The cultured ESHU label has pulled other some more tasteful talents for this four track 'Conrexture' EP. It opens up with Julien Fuentes's 'Jah Justice' (Klaridub Ambient mix) which is a nice atmospheric opener with some conscious dub mutterings and sci-fi pads. Jocelyn & Yasin Engwer then kick on with some watery, sub-aquatic minimal dub tech bliss in the form of 'Sticks & Stones', Voal gets even more dark and dirty with some grubby dub basslines on 'Eight Ball' and Ivano Tetelepta/Christine Benz layer up watery droplets, melodic whistles, static electricity and rubbery rhythms to mind-melting perfection on 'Supreme.'

Review: Known for his meticulous sound design and trippy, psychedelic approach, the Japanese producer gets key tracks from his 2023 Agartha album remixed with contributions from Kompakt veteran Michael Mayer and rising talent Philipp Stoffel. Opening the selection, 'Agartha (Wata Igarashi Sorcery Acid Mix)' plunges into heavy analog territory, channeling old-school acid trance with pulsing basslines and swirling synth layers. It's a trip that maintains a relentless and hypnotic momentum. In contrast, 'Floating Against Time (Wata Igarashi Shimmering Mix)' leans into atmospheric techno, unfolding with a celestial, meditative quality. The track's ethereal pads and evolving textures create a sense of weightlessness, staying true to Igarashi's deep, transportive aesthetic. Michael Mayer steps in with his version of 'Ceremony of the Dead', infusing it with an upbeat vintage techno feel. His remix brims with Kompakt's signature warmth, blending ravey elements with a steady, driving groove. Closing the set, 'Abyss II X Darkness (Philipp Stoffel Fusion Mix)' picks up the pace with rolling basslines and dubby, melodic layers. Stoffel's take is fast and fluid, balancing deep, introspective elements with club-ready energy. A refined touch for floor or sofa alike.

Review: Japanese techno producer Toru Ikemoto returns with a kicking new EP on Conundrum Records. Ikemoto has an uncompromising style which finds him boil things down to the bare essentials and dive deep into dark, hypnotic then worlds with hey low ends and a real sense of urgency. His three new jams here all foment that signature style, from the pulsing bass throb of 'Don't Play 171' to the more percussive loops of 'Don't Play 162.' 'Don't Play 170' is pure heady and linear techno bliss and a remix from Lindsey Herbert shuts down with some sub-aquatic rhythms.

Review: Imogen's 'Metanoia' on Tresor is a powerful six-track release that pushes boundaries within the techno sphere. Side-1 begins with 'The Way She Moves,' a hard-hitting, crunchy track that brings intense, aggressive energy to the table. The industrial-tinged 'Summer Kiss' follows, driven by an uptempo tribal rhythm, while 'Tired Bones' brings a deeper grooveiclassic Tresor with its wicked, pulsating proper techno vibe. Side-2 ramps things up with 'Growing In The Dark', a relentless, alien-sounding cut with sharp percussion that drives the energy to fever pitch. 'Breathe Again' shifts gears, incorporating breakbeats and a melodic layer with a touch of Belgian doom, adding a moody edge. The EP closes on 'DX Melancholyflower', an ambient and mysterious ender that feels stark and airy, leaving the listener in a reflective state. 'Metanoia' is a fierce, dynamic EP that features Imogen's ability to blend intensity and atmosphere, making it a thrilling listen for techno enthusiasts. Not for the faint of heart!

Review: In 1997, the Spanish CD compilation Calambre Techno featured a track called Utopia, created by the electronic duo INTRO, which was brothers Francisco and Nacho Sotomayor. Originally released in 1994 as part of an EP, the track is a simple yet perfect techno-trance anthem that is retro-psychedelic but ahead of its time. Now, UFC reissues this classic on vinyl accompanied by new remixes. The MFA's '94 On The Floor Remix' blends IDM and experimentalism while Promising/Youngster's 'Electric Shock Remix' fuses powerful electro with IDM. Brassica's 'Psytalo Remix' mixes techno, breaks and psychedelia, and R.I.P. Bestia's 'FutureCosmicalAscension Mix' leads to euphoric heights.

Review: Emmanuel's ARTS is a Rotterdam-based indie techno label that quietly pushes at the boundaries. Introversion has released here before with his 'Hush' 12" back in 2022 and since then has landed on the likes of Fundaments and Makatoo, always adding to his reputation. This one opens with 'Laeddis', which is cantering, full-throttle techno funk with big, oversized hi-hats. 'Found Footage' is a scruffier cut with underlapping kicks and muffled trance chords up top, then 'Tesseract' gets slicke and turbocharged for a fresh future assault. 'Signs' closes with supple, mind-melting synth patterns that intertwine with wispy percussion and thudding rubber kick for pure techno perfection.

Review: Leibniz's return was always going to be interesting given previous work and so it is. Each of the five news cuts exemplifies the power of simplicity with grimy, hypnotic mantras that showcase Leibniz's mastery of the genre. Stripping away unnecessary details, he focuses on what truly matters to cook up a minimalist sound that hits hard. These sounds really emphasise the notion that less is more, with each one full of refined technique and ability to cut through the noise. It's a masterclass in minimal techno that proves what to ignore is just as important as what to keep.

Review: Pi Electronics bring four classy artists together on this new 12". It marks the start of the Limitation series and opens with the deft, moody broken beat techno and unsettling synth ambience of Sam KDC's 'Dominion.' Interviews then ups the intensity with the frosty and rusty loops of 'Crawler' which lurches back and forth with real menace, and Zevla's 'Yours Is Mine' then keeps the pressure on with more tight drum loops, lashing of synth static, corrugated low ends and general dystopian vibes. Slave To Society's 'Biosphere' is the brutalist broken techno banger to close down with.

Review: Imperieux - or Alper Durmush to use the Bulgarian-raised, Berlin-based producer's real name - is not one to follow the crowd, as his debut CD on the always excelling Macro label testifies. He's clearly versed in a number of electronic sub-sets, from breakbeat to techno and bass music, but the ten tracks here follow very much their own path. Not that it's some way-out-leftfield experiment. Durmush clearly knows how to construct a decent groove - see the gliding opener 'Fo Pio'. Our favourite? Possibly the choppy breaks of 'Almost Had It', or the sheer hypnotics of 'Phase Rotation'. But there's no weak links here, just a producer well versed in the spectrum of dance production and, even more importantly, how to make it work for him.