Back catalogue: Techno (Alles)

Review: Analog Concept Vol. 3 delivers a striking collection of forward-thinking deep techno, blending electro, acid, and sci-fi elements to push boundaries across its four tracks. Fasme opens with 'Crying Robot', a standout acid electro monster that's both raw and energetic, setting the tone with its sharp, robotic intensity. CCO's 'Solar Sail' follows, bringing a darker, sci-fi edge to the mix. Its blend of EBM and new beat creates a timeless, futuristic trip that feels immersive and cinematic. Side-2 kicks off with Unwonted's 'Frontier', a high-energy electro track laced with trance elements, adding a hypnotic, rave-ready vibe. Serge Geyzel closes the compilation with 'Flash', a heavy-hitting deep electro cut that dives into darker, alien soundscapes. Its deep techno undercurrents enhance the track's sense of foreboding and mystery. Overall, Analog Concept Vol. 3 captures a thrilling array of deep, futuristic sounds. Take a journey through techno's more experimental and atmospheric realms with this Russian label. Each track stands strong on its own while contributing to the cohesive, forward-thinking vision of the compilation.

Review: Uberkeine's flair for textured techno is there for all to hear with this new EP which delivers four club-ready tracks designed to disrupt the dancefloor. 'Aggressive Starter' sets a bold tone and explores the interplay of broken beats and techno with layers of kicks and distorted synths that offer an intense emotional release. 'Piggyback Ride' plunges into a chaotic yet danceable realm divided into two sections that resolve with raw energy. On the B-side, ['Radical Jazz' brings fierce, unbound techno and is driven by a powerful bassline while last but not least, 'Atomic Moog' offers a deep, spacious track, perfect for after-hours and blending dubby grooves with a refreshing, refined touch.

Review: The third and final chapter of R3volution Records' 3volution trilogy is a powerful meeting point between past and future. Bridging sci-fi-laced techno with 90s minimalism, it features deep sound design and muscular drum patterns that combine for real club potency. UVALL from Tbilisi offers refined, deep rhythms with his cut, then Operator brings seasoned UK innovation and label co-founder Divide delivers precision and weight with global pedigree. Elsewhere, Belgium's PTTRNRCRRNT tunnels through textures with futuristic, conceptual drive. Each track is a standout weapon but together they make for a cohesive, forward-thinking statement from a label closing its vinyl trilogy on a high.

Review: Karl Hyde and Rick Smith continue to offer-up remastered CD reissues of gems from Underworld's vast back catalogue. Here they return to 1996's Second Toughest In The Infants, a set - co-produced with then third member Darren Emerson - which cemented their growing status as one of British electronic music's true headline attractions. While not as admired as its predecessor, it remains a fantastic full-length excursion - an inventive and frequently inspired collection of peak-time-ready epics that borrow liberally from progressive house, techno and spacey drum & bass (see 'Banstyle/Sappy's Curry'). It also contains a number of genuine stunners, not least the bustling 'Confusion The Waitress', the acid-fired insanity of 'Rawla', and the trance-inducing early morning hypnotism of 'Air Towel'.

Review: Recorded and released after the crossover success of 'Born Slippy [Nuxx]', Beaucoup Fish remains Underworld's most commercially successful album. The third and final set to be recorded with then third member Darren Emerson, it has fewer rough edges and in-your-face grooves than its predecessors whilst still retaining the band's rave-igniting sound of the 1990s. Now remastered and reissued on CD for the first time since 2017, it's a set that has aged well. For proof, check the woozy slipped deep house of 'Cups', the breakbeat-powered, acid-fired peak-time insanity of 'Shudder/King of Snake', the rushing release of 'Push Upstairs', the heady ambient bliss of 'Skym' and the drum & bass-influenced warmth of 'Something Like Mama'.