Klockworks Germany

Review: Ben Klock's Klockworks label isn't about releasing EP after EP, or necessarily dropping the biggest name out there at a particular moment in time. Instead, the Berlin Osgut Ton and Berghain veteran eats and chooses exactly the right sort of artist and music for his label, finding the right blend to fit into the sound that makes the imprint what it is. Jay Clarke doesn't have a huge amount of prior experience, but "Drift" is a Klock tune all over, where a steady 4/4 beat is tightly interlocked into a hypnotic and sleek groove of ever-evolving melodies. The same goes for "Magnetic", a thinner track that relies on its jarring sonics to drive the tune forwards, and the twisted cyclone of bleeps and percussion that is "Mirage".

Review: Well, this is an absolute Klockworks takeover this week, and its clear that Mr.Klock himself is making a bit of a statement! This is the third episode of the new Klockworks compilation series, each one of these releases bound together by a similar artwork and, of course, a mutual love for sleek, direct techno for the mind. Newbies Jay Clarke and Ritzi Lee ride on the A-side of this double-pack, both offering a dusty procession of calculating techno, while the B-side is dominated by Reus' tenebrous "Acid Mono" and High Position's hard-hitting, dub-leaning "Cops". The second disc kicks off with Yokol's dreamy patterns through "Dense", followed by the dark and bass-heavy groove of Adam Craft. Vincent's "How I Feel" closes off the compilation with a comparatively more soulful piece via "How I Feel", a melody-rich house-techno hybrid for the masses.

Review: It would be fair to say that this latest EP from Minneapolis-raised Zak Khutoretsky features a trio of "tried and tested" cuts. Label boss Ben Klock has taken to closing his sets with lead track "Black Russian", a surprisingly light and airy chunk of loop-techno blessed with deliciously warm and evocative pianos. The other two tracks aren't quite as anthemic, but they're certainly floor-friendly; you'll struggle to find a more brutal and intense chunk of claustrophobic late night techno than "Spying" - all minor keys, restless shakers and booming sub - while "Creeping" is similarly dark and jackin', with distinct hints of early Belgian techno.

Review: Ben Klock revives his own Klockworks imprint with some pounding excursions into the genre we call techno. The fleeting organ melody of "Under Pressure" rests above a taught, tense drum loop, while "Voyage One" begins with the kind of thumping beat that characterises a Ben Klock DJ set, with a frenzied key structure giving the track a sense of unease and nervous anticipation, almost like Jeff Mills' Something In The Sky series with a Berghain beat. ""You" rounds off the 12" in a minimal, atmospheric undertone. Limited supply, get in quick.

Review: Hard hitting, guaranteed floor burning techno.

Review: After some minor delays Klockworks celebrates its tenth release by introducing Ukrainian artist Etapp Kyle to the label. It's the young producer's first vinyl offering and it's likely he'll enjoy a similar spotlight of exposure to that of DVS1 did he debuted on Ben Klock's imprint. The title track "Astra" sees melodic arpeggios bleep over a solid four-four kick drum as a 909 drum machine is used percussively as much as it is atmospherically. Kyle keeps things tonal in "Drama" adding a subtle dubby edge, while "Aurora" sounds like a chime-filled take of Ben Klock's most defining tracks "Pulse" and "Subzero". Kyle caps his homage to Berghain's most famous DJ with more sweet blips and tough-loving drums that are surrounded by a crackling ambience in "Prizma".

Review: The young Ukrainian producer follows his debut on Ben Klock's label with this innovative, unusual techno record. "Axiom" is reminiscent somewhat of DVS1, with its meaty bass snaking its way through an insistent, minimal groove. By contrast, "Sakura" resounds to microscopic beats and hypnotic, tonal bleeps. It's just as subtle as "Axiom", but far more understated. This proves to be a temporary diversion however, and straight afterwards, he drops "Lyrae". Tight claps, insistent pulses and bristling percussion make for a functional but distinctive dance floor track. Last and possibly best of all is "Luna". Its melancholic bass and windswept, mysterious melodies make for a beautiful, unexpected end to this release.

Review: The good chaps over at Hardwax, Klockworks' own distribution network, are calling this a "perfectionist techno compilation" and, in their own words, it comes "warmly recommended". We agree with both of statements, and believe this to be a fine piece of work from the Ben Klock collective. Perhaps listeners won't hear anything drastically game-changing in here, but it is certainly all dance music of the highest calibre, from a collection of artists who have truly crafted a neat and elegant vision of techno music. On this double, the first in an upcoming series, there's a mixture of old and new faces all coming together to showcase the sound they've been so close to over the years; the wonderful Sterac makes an appearance with a refreshingly off-kilter blur of dub techno on "Lately", while Ben Klock himself comes through with the ice-cold bleeps of "Twenty", and the mighty DVS1 blasts out some penetrative percussion folds on "In The MIddle. Trevino rocks the boat with "Sombre Tones", whereas relative newcomers Etapp Kyle and Jon Hester turn in their own 5am bullets.

Review: Kanzleramt boss Heiko Laux has been releasing underground techno for over 20 years, during which time he has undoubtedly influenced DJs like Ben Klock. This debut on Klockworks is tacit recognition of Laux's influence, and it's also a reminder that he is a master in his field. "Savannah" is a deep, throbbing groove, with layered synths unfolding over a warm bass, while "Dry Me" sees Laux combine tranced out synths with a surging, big-room groove. The highlight though is "Dry Me (Acid Mix)", where the veteran artist combines heavy kicks and thunder claps with the kind of searing acid line that would make Woody McBride blush.

Review: Coming through with a steamrolling selection of techno tracks form the underbelly of Berlin's scene, it's the second chapter of the Klocksworks 20! Once again, newcomers and vintage favourites align on this collection of "perfectionist" techno; New debuts with the militant bass waves of "Dance Of The Warrior", while Holland's mighty Dax J turns in a violent wave of 90s reminiscent techno on "Late Night MIstress". The hyped-up ROD's "Extra" offers an unexpected wave of ambient delight, whereas Steve Rachmad aka Sterac returns with "Scientific Methods" in what is a shivering gunshot of industrial bleakness. Troy's "Flux", as the name suggests, hypnotises the dance floor with its heavy wash of drums and grey-scaled bass, leaving legend Heiko Laux to head for the dub wise flow on the masterfully deranged and distorted waves of "Dark Fader".

Review: Rotterdam techno legend Benny Rodrigues aka ROD returns to Klockworks for more functional and powerful DJ tools guaranteed to rock any room with energy. Opening with the epic "Hor" guided by its absolutely explosive synth arpeggio (think Vitalic!) that builds up to a mighty crescendo, there's more dancefloor fodder on the A side courtesy of the darkly hypnotic drone techno of "Dubix" treading a similar path as label mate Etapp Kyle. On the flip, Rodrigues throws a nice curveball on the dark and aggressive electro-funk workout "Nitecollage" while "Pull" is sure to get some hands in the air with this adrenalised and euphoric number geared for some serious dancefloor drama.

Review: Benny Rodrigues' (Alves Fortes Monteiro) Rod alias debuted on Klockworks in 2007 giving Ben Klock's label its seventh release. Following Etapp Kyle's debut on Klockworks earlier this year, Rod returns with the first creatively titled EP the label has released. Anindica (Klockworks 11) provides two productions, and the title track is in line with a zapping Detroit style of techno, and perhaps something you may hear played in a current Eddie 'Flashin'' Fowlkes DJ set, while the muscular, dub-tinged, European B-side of "Hux" is well a truly destined for some heavy Ben Klock rotation.

Review: Ben Klock's own Klockworks is back with another surprise after last year's Anthony Parasole bombs. Sterac, otherwise known as Steve Rachmad, has been making pulverising techno heart-stoppers for the best part of two decades now, and it only makes sense that his latest concoctions should end up on one of the most iconic Berlin labels of this generation. Like all of the label's output, these are tracks which you can just imagine Klock playing in one of his legendary extended sets at Berghain or throughout the rest of the world. The grooves are tense, the beats stripped to their bare bones, and the melodies minimal and unobtrusive. Functional machine music from the heart of the scene. Don't miss it.

Review: ** Repress ** Thriving in his emergent Trevino moniker, Marcus Intalex makes a prominent step further up the chain with an appearance on Ben Klock's label Klockworks, further cementing his authority as a producer of techno means. "Forged" has no doubt had plenty of test runs at Berghain with its stalking, growling bassline and ever-pressing forward momentum, crafted out of immaculate elements to do all the right kinds of damage. "Uptight" is a more tripped-out affair, with minimal drums and an acidic pulse hovering just below the surface where you have to submerge your head to catch it. "Doldrums" meanwhile shimmers and shudders with a Reese-sized bassline and intricate percussive ripples to create a hulking beast of track.