Back catalogue: Techno (Alles)

Review: Henri Bergmann and Wennink's Guardian Angel marks an impressive debut on Crosstown Rebels, delivering a track that expertly fuses melody with depth. Bergmann's knack for sculpting rich, atmospheric landscapes is matched by Wennink's haunting vocals, creating a piece that feels both expansive and intimate. It's the kind of collaboration that hints at a shared vision without ever losing individual identity. The original track opens with textured percussion, slowly unfurling into an emotive soundscape as Wennink's vocals hover above like an ethereal guide. There's a melancholic undertone, but it's balanced by an uplifting drive, showcasing their ability to blend light and dark seamlessly. The remixes take Guardian Angel into uncharted territories. Stimming strips things back, opting for a more minimalist approach that sharpens the focus on rhythmic intensity, while his subtle use of effects amplifies the track's ethereal quality. It's a remix that feels lean but still full of intent. Hardt Antoine, on the other hand, plunges deeper into the shadows, pushing the bassline forward and letting synths stretch into eerie, sci-fi realms. His reworking is darker, stranger, and ultimately a satisfying close to the EP. With this release, Bergmann and Wennink add another strong entry to the Crosstown Rebels roster, proving that their partnership is one to keep watching.

Review: Kompakt's legendary Speicher series is up to its 130th installment here and none other than electroclash forefather and International DJ Gigolo label head DJ Hell features, firstly with his cut 'Anything Anytime' remixed by Voigt & Voigt. It's a mid-tempo electronic sound with dwarves of fizzing synth and filtered robot vocals that bring a melancholic note to the wavy beats. Then Hell himself steps up with his own flipside remix. He brings plenty of raw strobe-lit energy and snappy drum funk to Wassermann's 'WIR'.

Review: We rue the hypothetical day that 'Raving Disorder' gets added to the Diagnostic and Statistical Manual of Mental Disorders. Luckily, our no-nonsense Neapolitan pummel-peddlers Carbone Records have reclaimed the term before any dodgy psychiatrist could possibly summon the gall to misdiagnose a perfectly healthy (albeit still sometimes pill-popping) cohort. What's more, they've laid down six ultra-intense hard kernels of maximum enjoyment here, from Warind's tongue-in-cheek 'Give Me Your Money' to DJ Almighty's hardstylistic 'Underground', all on distinct smiley-faced green wax. Administer that, chumps!

Review: Overthink Records marks its 10th release milestone with Waveratio 618's blend of techno and EBM. Following his standout contribution to the label's Split Series, the Italian producer delivers an intense collection crafted entirely from live jam sessions that capture the raw energy and spontaneity of such an approach as he translates hardware explorations into dynamic grooves filled with tension and drive. With a mix of analogue warmth and digital waveforms, this one is perfect for both dark dancefloors and more introspective moments.

Review: Takuya Sugimoto AKA Web is an electronic innovator who released a slew of essential albums in the mid-nineties. This new EP - except for a re-issued track that first appeared in 1995 - is a continuation of his fusionist style where he layers up wonky rhythms, detuned synths, IDM, ambient and techno into something new, something spiritual, something utterly fresh. Everything from Herbie Hancock to Larry Heard to Yellow Magic Orchestra can be heard if you listen closely to these rhythmically complex tracks, and you really should, because there are all kinds of magical sonic sorcery to be found.

Review: The Take It Easy label returns with a red hot one and limited edition one-sided 12" that features a Bugsy 'ReDrum' of Wema's 'Kiherehere' cut. The original artists are a five-piece Tanzanian outfit founded on community and they have a global approach to sound that plays out here. In Bugsy's hands, it becomes a club-ready cut that fuses house and techno with the original's traditional Tanzanian instrumentals and Afro-Latin rhythms. Add in a fiery vocal and the sort of unrelenting drum funk that sends crowds mad and you have another standout from this fledgling label.

Review: Wheelman started the Glasgow club series Stereotone almost six years ago, which then evolved into a label in 2016. He has since become a staple of the local club scene and released music on Studio Barnhus, Don't Be Afraid and Belters - which furthered his standing in the UK scene and beyond. His latest release is titled Reaching For A Higher Place, which features a selection of emotive cuts: from the dark melancholia of 'Hit' and its factory floor aesthetic, to the low-slung funky disco loops of 'Grey Vision' and the Basic Channel influenced closer 'Train Track' hypnotising you into submission with its cavernous and glacial cyclicality.

Review: Damon Wild steps up to Synewave with 'The Mood Machine', a thrilling exploration of some sleek and stylish techno. 'Make Believe' opens with a dancing line of hi-hats over pulsing sonar-like blips and driving bass. It's a future take on Detroit techno that leads into the mystic sounds of swirling pads of 'Reflection'. 'Elevate' slows things down with a more moody blend of pads and glitchy beats over rolling drums and 'Starliner' then melts theming with intricately woven layers of sheet metal snares and linear kicks. All four of these are timeless and high-quality techno tools.

Review: There's plenty to set the pulse racing within this new set of remixes of tracks from Seb Wildblood's superb album "Sketches Of Transition", which dropped on All My Thoughts earlier in the year. Our pick of the bunch is the superb Suzanne Kraft remix of "Amelia", which wraps glistening '80s guitar sounds and fretless bass notes around a chugging, arpeggio-driven groove, though many may gravitate towards the tight but undeniably groovy and melodious Jenifa Mayanja deep house version of "Small Talk". Elsewhere, Ciel re-imagines "Bahn" as an intoxicating chunk of bleep-laden broken electronica/Balearic fusion, while object blue impressively chops up "Sketches" into a sludgy, mind-altering style.

Review: Todmorden quartet Working Men's Club have long held a soft spot for Sheffield, with much of their music being recorded in the city under the watchful eye of producer Ross Orton. It makes perfect sense, then, that they'd commission an EP full of reworks from Steel City producers. Toddla T kicks things off in fine fashion via a rave-igniting, dancehall-tinged SoYo bass rendition of 'Money Is Mine' tailor-made for the city's Kabal parties, while bleep & bass godfathers Forgemasters deliver a drowsy, atmospheric, post-industrial deep house tweak of 'The Last One'. Elsewhere, Diseasa opts for an angular, industrial electro flex on a fuzzy re-wire of 'Rapture', Orton squelches his way through a tough-as-steel acid house remake of 'Plays', and Charla Green gives 'Fear Fear' a dystopian post-jungle makeover.

Review: The Worm burrows deep with this evocative new outing on Deep Cub label, which continues to turn plenty of heads before it has even got to release number 10. '12 Days Of Squirm' is dubby, mid tempo and slow motion techno for early evening warm ups. 'Lisa' brings a more cid laced and percolating sound to up the energy levels and '808 Verb Talk' is darker, more heavy, with bright acid leaving a menacing mood in its wake. 'Pytch1' is another deft and atmospheric wedge of slow, purposeful techno.

Review: After releases on I Love Acid, Balkan Vinyl and Noise Manifesto, WTCHCRFT from Brooklyn gets a six track showcase of his skills, that is if you include remixes from HAVEN boss label Keepsakes and Valerie Ace. The sounds are from the tougher end of techno, for sure, but the likes of 'OOO' - speedy and pepped with a super cool vocal snippet - 'The Kink' and 'VVV' all retain an element of essential funkiness that shines through the sonic brutality. Our favourite is the still heavy but less full on 'New Friends', with its creepy film samples, but this is quite the collection. Just keep the lights on.