Juno Recommends Minimal / Tech House: February 2025

Review: Sushitech never serves up anything less than high-class tech, house and dub and that is once more the case with the latest reissue project. This one turns its attention to a 1999 gem by Land-based Get Fucked. Originally dropped on the Eukahouse label and soon beaching a cult classic of the new millennium, it now arrives on a fresh 10" in two different forms. Up first is 'Dreams Are Made' Sweet Mix which is stylish deep tech with muffled vocals and heady pads, then Kenneth Graham brings his 'She Likes To Ed-It remix' to the flip and makes things even more deep and dubby.

Review: Limo Trax wind down the tinters and shoot us a knowing look through the Wayfarers, as their latest procurement in slick minimal house and techno blares out the limo stereo. This latest addition to their colours series comes in verdant green, and corrals the talents of Milion, Exonym, Dombee and Wodda, all of whom lay down a clacking sonic technic each. 'Tuin Van Bret' exposes the vibe with beeping chords and an injurious party-starting film dialogue sample, as swarthy, silly excitable funk ensues. 'Hagring' marks the A2 with a "gimme dem" sample and moody swells, while 'Brixton' pays homage to the legendary Lambeth area with a speed garage distributary, reminiscent of Serious Danger's earliest movements in the sound. 'Dark N Stormy' perfects this speedy trend, adding expulsive breaks and oozing licks between the four-by-fours.

Review: Ron & Roland was a mid-90s collaboration between Matt Hodgson (7th Voyage) and Laurant Webb (Housey Doingz) and at their peak they made some untouchable records that perfectly straddled the house and techno divide. This new reissue on Pariter is one of them and it features a trio of cuts laced with visceral acid energy. 'Nassaur Bassed Party' kicks off with crispy drums and snares that cut through the rich bass. 'Acidless Party' gets wilder with extra 303 energy and 'Track Ball Treck' balances dynamic drive with sonic detail for a dubby, elastic groove that was initially recorded at Swag Studios Croydon in 1996 and, with these other cuts, was initially released on Surreal. It's been a cult favourite ever since and still sounds magnificent.

Review: Burnski's Pilot label fires up the back burners once again here for some cruising tech house that oozes cool. Robin Graham is the man on the machines and his 'Like This" (Italo Summer mix) kicks off with some subtle prog vibes, a throwback bassline and bubbly synths that percolate through the mix to soothing effect. 'Set Me Free' has glistening and silvery hi-hats and a choppy groove with some big stabs and 'Enter 1' is the sort of cut you want to hear at the afters with its trippy melodic details and deft synth sequences dancing about the mix. 'Subject A' is a driving tech house number with plenty of astral synth sounds and fresh future feels.

Review: Hailing from Mosgiel, New Zealand, Burns has spent nearly a decade carving out a reputation for distinctive, dancefloor-ready tracks and 'Big Beat Manifesto Vol X' sees him flexing his knack for infectious grooves and polished production. Side-1 opens with 'Head On', a high-energy house anthem that bursts with deep rhythm and a driving groove, perfect for peak-time sets. Following this is 'Trick,' a deep, tribal-infused groove that leans into a hedonistic vibe, effortlessly commanding attention with its hypnotic undertones. Side-2 delivers variety and punch, starting with 'Wand', an uptempo, melodic cut that's equally well balanced in euphoria and energy. 'Head On Dub' strips back its predecessor, focusing on rhythmic depth and subtle textures. Closing the release, '1 More Loop For Hard DJs' lives up to its name, delivering a relentless loop that's sure to ignite the more daring moments of a set.

Review: Constant Sound is one of the very many labels that is headed up by Burnski and one that he reserves for club-ready tech house and minimal. Wodda steps up for the latest outing and brings some future garage energy to the opener, 'Reggae Fusion' (Deep mix) which is lit up with lithe synths and smart vocal samples. 'On My Way' has more infectious garage vibes to it with the squelchy drums and hits and some nice heady melodies up top. 'Changing Faces' gets more twisted and brings intergalactic drama to the ass-wiggling cyborg tech beats and last of all, a Tuff Mudda mix of 'Reggae Fusion' shuts down with a silky thump and throwback UKG bass.

Review: Burnski and Kepler, two names synonymous with the deeper shades of house music, converge on Chris Stussy's Up The Stuss imprint for a collaborative EP that showcases their shared passion for dancefloor-focused soundscapes. 'Solstice', the title track, sets the tone with a hypnotic swing, its subtle rhythmic shifts and infectious bassline weaving a mesmerizing tapestry of sound. 'Contemplate', the second collaborative effort, offers a more introspective vibe, its bumping rhythms and melancholic melodies suggesting a moment of reflection amidst the dancefloor euphoria. The flip side sees the duo explore their individual artistry. Burnski's 'Give' is a late-night gem, its shimmering textures and hypnotic rhythms conjuring a sense of blissful introspection. Kepler's 'Transcend', on the other hand, lives up to its name, its vibrant energy and captivating melodies transporting the listener to a higher plane of dancefloor consciousness. It's a confident opening salvo for 2025 from Up The Stuss, a label that continues to champion the most vital strains of contemporary house music.

Review: Michelle's latest offering feels like a seamless expression of self that captures moments of quiet introspection and sudden bursts of energy with a rare fluidity. There's a tenderness in the opening moments, the kind that builds a world around you without being too obvious about it. As the EP progresses, the energy ebbs and flows, with her vocal delivery and production pulling you in different directions, offering an unexpected balance between reflective depth and danceable grooves. It's a record that feels carefully crafted yet entirely free-flowing, its moods shifting in a way that keeps you engaged without overstating its intentions. A complex yet accessible work, it feels like the mark of an artist growing into her voice, blending textures and emotions with ease.

Review: Since 2019, Taylor Freels - best known for his work as Urulu - has used the Liquid Earth alias to explore the more psychedelic side of his dancefloor influences, frequently doffing a cap to 1990s acid, breaks and progressive house. This time round, you'll hear some of those inspirations, but also nods to the early days of UK garage. For proof, check 'Handy Boy (Casa de Mama Remix)', where cut-up r&b vocal snippets and mind-mangling electronics ride am Armand Van Helden style 'dark garage' groove, and the psychedelic acid-goes-4/4 UKG madness of 'Big Nik's Speed Garage'. They heady and intoxicating hybrid flavours continue on 'Lick of Life (Just A Little Mix)' - all weird noises, odd samples, acid lines and speed garage drums - while 'Clubber's Exit' sits somewhere between weighty Detroit electro and nu-skool breaks.

Review: Eastenderz welcome Louden for a four-track journey of cheekily outta-space proportions, blending the best of tech funk with the more hypnotic ends of acid trance and bass. 'Touche' and 'Ambush' hold little back in the bare establishment of phattened drumbeat swing and flattened tonic funk and both tracks pepper their phrasal end-stops with plenty rewind SFX and chipmunked "ahem, music please" samples for good measure. 'Spaceship' and 'Dizzy Hum' move more furtively, the latter track especially opting for a glottal DX7 organ whose swing is almost too lingual to handle.

Review: Inspired by "cosmic vibes and alien sounds", Cut Line Records is a freshly minted imprint founded by New York-based producers Majak and Diego Knows. Wisely, they've decided to set their stall out via a multi-artist EP that offers more than a few hints about what we can expect to hear in the months and years ahead. Naturally, they contribute, rounding off the EP via the collaborative 'Electrik Funk', a smooth, spacey and sub-heavy slab of tech-house funk marked out by cut-up vocal snippets, intergalactic-sounding motifs and rubbery beats. There's plenty to set the pulse racing across the rest of the EP though, from the acid-flecked tech-house funkiness of Pedro Goya's 'Celeste', to the star-fall haziness of Digital Pimps electro roller 'Warning Bells', via the electro-goes-breakbeat shuffle of 'Alien Vision' by Frankula and St Xose.

Review: Gems, a new label with a nose for unearthing dusty relics of the UK tech-house scene, kicks off with a double shot of pure 90s dynamite. Label boss Paul Still, Croydon luminary and veteran crate-digger, has dusted off these two bangers, ready to reignite dancefloors. First up, Terry Francis unleashes a remix of Radical Chic's 'In Da Shadows' that'll have you reaching for the lasers and sweating buckets. This ain't no polite shuffle - it's a full-on assault of pulsating basslines, swirling synths and big energy. Francis, a master of his craft, layers textures and effects like a sonic sorcerer, conjuring a tapestry of sound that's both intricate and exhilarating. Flip the wax and Space Bunny's 'The Key' unlocks a different kind of chaos. This infectious groove, built on chunky drums and a hypnotic bassline, is pure, unadulterated dancefloor hedonism. But it's the vocal snippets and playful synth stabs that truly elevate it to legendary status. The Wax Trax remix adds a contemporary twist, injecting a fresh dose of energy while retaining the original's undeniable swagger. If you're craving the authentic sounds of early tech-house, Gems is your new dealer. These aren't just reissues; they're sonic time capsules, transporting you back to a time when the dancefloor was a sweaty, euphoric escape from reality.

Review: Zendid takes the reins of this Romanian label's talents and shows plenty of studio guile and versatility. There's a nice breezy quality to opener 'Fradpause' thanks to the way the pads swirl around so expansively while the nice mid-tempo drums move onwards. 'Panama Panthers' then ups the ante a little more pressure in the drums but still a nice heady feel to the roomy pads. Last but not least, 'Nature Peinture' takes on a menacing edge with the snippets of vocals that pan about the mix amongst eerie pads and groaning sound effects. Splendid, or should we say Zendid, stuff.

Review: Purple Print Records Compilation 3 is a rich exploration of minimal and tech house, bringing unique textures and groovy rhythms to the forefront. Side-1 opens with He Did's 'Mientras Tanto', a fun and infectious groove. The track's deep, rolling bassline and lively percussion make it an instant mood-setter. Following is DeWaal's 'Iceshade', a bouncy, upbeat track that balances playful energy with a steady, deep tech groove. Side-2 moves further into introspective territory with Raz's 'Rora', a smooth and melodic track that drifts along effortlessly, blending subtle harmony with a deeper bassline. Yama Music's 'In My Space' rounds out the collection with a broken beat approach, delivering techy, spacious vibes that add depth and variety to the mix. Altogether, this compilation is a refined showcase of tech house cuts that'll resonate with dancefloor times.

Review: Slow Life has always nudged at the edges of typical genres, be that deep house, tech or minimal. Here comes another case in point - a remix EP that finds key associates rework originals by Ethereal Logic. S Moreira get first with a psyched-out sound dripping in colour and percussion. Paolo Mosca's remix is a glistening one with airy breaks and twinkling melodies and the Primary Perception remix then slows things down to a vibey downtempo and boogie delight. Mosh Project's remix closes with a slow motion and snaking sound that would work well as a backing track to a DMT trip.

Review: A feature of Shanti Celeste's sets for the best part of a year, 'Ice Cream Dream Boy' is arguably the Peach Discs founder's most accessible, joyous and impactful single to date - a genuine anthem in the making with serious crossover potential. In its original mix form (track one), it's a bouncy, lightly acid-flecked slab of colourful deep house pop topped off with a hybrid sung and spoken vocal delivered by the British-Chilean artist (who, we shouldn't forget, appeared as a vocalist on several records before making her production debut). She provides a trio of alternate takes herself: the rolling, punchy and enjoyable 'Sorbet Dub', the tougher, darker and more percussive 'Functional Gelato Mix', and the self-explanatory 'Soft & Swirly Acapella'.

Review: Following outings on Eudominia and Who is Paula, Carsten Fluck and Lucas Lejeune bring their Not Even Noticed project back to Craigie Knowes. Like their last EP on the reliable Scottish imprint, Beneath The Surface has both eyes firmly fixed on peak-time dancefloors. Our pick of a very strong bunch is opener 'Hidden Ground', where razor-sharp TB-303 acid lines, dreamy chords and misty-eyed female vocal snippets ride a rolling techno groove. The quality level never dips throughout, with the warm but spacey tech-house hypnotism of 'Whopper', the deep acid house hedonism of 'Hibiscus' and the electro-fired supernova that is 'Under Your Radar' (whose acid lines are wonderfully insatiable) all hitting the spot.

Review: A fresh perspective on classic 80s electronic sounds across this eight-track collection that moulds house, techno and early rave influences into a dynamic, rhythm-driven experience. Kicking off with 'Lightweave', the groove immediately pulls from disco's infectious energy, layering dramatic organ melodies over a crisp, propulsive beat. The journey continues with 'Cubic Pathways', where deep, stomping new beat rhythms meet spacey, evocative melodies reminiscent of the late '80s transitioning into the early '90s. Normally , a producer tied to the sound of Detroit techno for the past 15 years, Johannes Volk shifts his focus to many kids of retro influences from around the world on this album. 'Sense Of Wonder' injects an Italo house spirit with electro elements, striking a perfect balance between nostalgia and futuristic sound design. Meanwhile, 'Exposure' leans into minimal yet incredibly catchy hooks, channeling the mechanical precision of Kraftwerk while maintaining a forward momentum fit for modern sets. The collection's closing moment, 'Zero Zero, taps into the raw energy of early UK rave and new beat, drawing comparisons to the bleep-driven textures of acts like LFO. Throughout, vintage textures and deep-rooted influences are seamlessly woven together, with results that feel both reverent and fresh.

Review: Acid Pauli and Nico Stojan, the masterminds behind the Ouie label, reunite for another collaborative effort, this time delivering a two-track EP that embodies their signature sound. 'Vola' is a hypnotic and psychedelic journey, its spongy rhythm and eclectic samples creating a lush and meditative atmosphere. The track's intricate textures and subtle melodies invite the listener to get lost in its depths, a perfect example of the duo's ability to craft intimate and evocative electronic music. 'Tensione', the B-side, builds upon this foundation, incorporating modular arpeggios and tasteful pads to create a more dynamic and expansive soundscape. Hypnotic rhythms, intricate textures, and psychedelic flourishes - job done.

Review: Oozing with slippery sound design and euphoric exudate, Andrey Djackonda, Etzu Mahkayah, and TooRare team up for a next-gen talent demo in EP form, well and truly showing any other upstart how trancey-prog-minimal house is and should indeed be done. Said to have been designed to create a feeling of uplift and positivity - and yet in our opinion, the record touches on relatively more neutral and trancier moods, ones which could go either way - the likes of 'Que Le Jour Se Leve' and 'Sunrise In Amsterdam' are highly maximised, entelechic tech-trance progressors, highlt reflective of the verve and dedicated so far enshrined in the work of Saint Petersburg label MixCult.

Review: Marco Passarani is a real techno player in his native Rome and beyond, and now he revives his Studiomaster alias for some red hot club cuts. The name comes from the Studiomaster P7 console he tuns his music though in order to lend it some real-world grit and grime. You can hear it in all these cuts, from the acid-laced low-end oscillations of 'Nerve Punch' to the stripped-back and hissing hi-hats and synth sequels of 'Psy Vs Psy'. 'Wake Up Shake It' is another skeletal rhythm with plenty of metallic textures and 'Test Drive' then lands with more of a firm thud. Add in the loopy 'Numero 4' and you have a stylish and severs EP of fresh minimal.

Review: Viewfinder returns to Rescan Records with their third release on the label, a four-track journey through house and techno. The A-side offers two straight-up house cuts, 'Solace' and 'Let Go', featuring infectious grooves, sampled percussion, and catchy stabs. Flip the record over for a techno turn, with 'Roxtone' pushing the BPMs higher and delivering a high-energy workout. Mihail P closes out the release with 'Natural High', a hypnotic blend of breaks, bleeps, and ethereal pads. With its diverse range of sounds and infectious energy, this release is a must-have for any fan of quality electronic music.

Review: What is bad house music? Besides lazy non-objections like "it's a matter of taste", we'd go deeper and suggest bad house music is house music that doesn't respect the genre's roots (note: respecting should be defined in contrast to absolute loyalty; the two ideas are altogether different). Love Exposure's very own Chinichi shows an awareness of this distinction, laying down four tracks which only hint at the vibe of bumptious genre disrespect that some producers exhibit, without truly indulging it. "Bad" is defined secondarily here: "bad" as in devilish, seductive, charming. The title track and ensuers like 'Prog Power' and 'Do It' thus pump and kick, inducing extra fluttery come-hither eyes in the listener, by way of burly kicks, moreish trance elements and extra curvaceous synth hoots.

Review: The freshly minted Occult Vision label has a distinctively different ethos and approach. It was established to release full-length excursions (that's albums, kids) only, thus offering producers they work with the chance to stretch their musical legs (so to speak). For the label's debut, they've turned to long-serving Frankfurt producer Frank Heinrich. His first LP since 2016, On A Grind sees the German frequently blur the boundaries between tech-house and deep house, with solid and sub-heavy grooves being overlaid with a mixture of heady sonic textures, glassy-eyed vocal samples, glitchy percussion, twinkling keys and tipsy, mind-mangling musical motifs. Highlights include the jazzy tech-house dustiness of 'Tombant Jazz', the deep and heady shuffle of 'Sweat', the ragged, acid-fired hedonism of 'Outwork' and the sweat-soaked peak-time pump of the nostalgic title track.

Review: 'Marzenia' is an eclectic and compelling EP that has four diverse tracks blending minimal, tech house and breakbeat influences with a strong nod to classic house and electro sounds. Side A of the record contains four laser-etched logos of The Very Polish Cut-Outs, which make it impossible to play track A1. Polotronic's 'Marzenia' follows with a deeper, atmospheric broken beat vibe. It's an ominous builder, with melodic undertones that change the pace of the EP. On Side-2, 'Pamietnik Manekina' (Polotronic remix) by Grupa Jot delivers a nostalgic mix of 80s electro and Italo house, along with new beat elements. Polotronic closes with 'Jack', a track soaked in 90s vibes, bringing a unique and playful touch to the EP. A well-crafted blend of house styles with a vintage edge.

Review: Melbourne-based artist Dan Goul takes flight with his debut release, showcasing his impressive command of techno's deeper shades. Released on Berg Audio, this collection is an immersive journey through ambient textures, experimental soundscapes, and weighty dancefloor rhythms. 'Currents' sets the tone with its hypnotic groove, while 'Low Tide' explores a more introspective soundscape. The title track, 'Paraglider', soars with its expansive melodies and driving percussion, and 'Peninsula' closes the release with a mesmerizing blend of ethereal textures and pulsating rhythms. Goul's deft touch is evident throughout, seamlessly weaving together intricate sound design, hypnotic grooves, and moments of pure sonic bliss. This is a testament to Goul's artistry, a captivating exploration of techno's diverse landscape that will appeal to both headphone listeners and dancefloor devotees.

Review: Planka Records continues to solidify its underground credibility with its third release which offers up a group of international producers. The EP dives into electro grooves and stripped-back, hypnotic rhythms designed for the raw, gritty corners of the club and Aka Juanjo kicks off with the neck-snapping pressure of 'Modo Electro.' Jesse You brings some proto-trance synth work then Stefano Andriezzi gets freaky with ice-cold drum machines and --burrowing basslines on 'Teknica'.