Back catalogue: Techno (All)

Review: German duo Ame, consisting of Kristian Beyer and Frank Wiedemann, makes a striking comeback with their new single, 'Asa,' marking their first original release in three years through Innervisions. 'Asa' epitomises their approach to dance music, blending vibrant joy and euphoric energy into an unforgettable track. The composition thrives on repetition, yet each element is dynamic and ever-evolving. The piece weaves together bold synths, pulsating beats, and intricate melodies into a catchy dance track. This track demonstrates their knack for creating exhilarating, peak-time dance anthems while maintaining their signature adventurous sound.

Review: Mutual Rytm deals in proper techno that does the basics well and doesn't worry about modern fads. 'Surface' is the standout here - it has brilliantly bubbly synths rippling in sync with the hunched drums and bold bass notes. It works perfectly on both head and body and so does 'Blush' though with a more sleek, straight-ahead groove and minimal percussion over the echoing claps. 'Grainy' shuts down with another stylish techno bent and confirms Dold to be a vital voice in the current underground.

Review: Acquit is a super under-the-radar label that has been making some great moves in recent times. DX 9's 'Incoming Signal' is further proof of that. It's a Detroit-referencing techno outing with the sort of chord work that gets you lost deep in through while the bulky drums lock you into an intergalactic trip. The G-Prod remix brings prickly and kinetic electro beats, while the Taho remix is awash with celestial synth work and cosmic melody. 'Decoded Signal 1' is a final original that has more kick and but still plenty of machine soul. This sweet 10" is limited to 200 copies so move fast.

Review: It's not a scam... it's Skam! To the Skam sister label Kasm comes Russell Haswell with a mitre-sawing electro release, veering toward brash abstraction. A gobby intonation is wrought from the distortion send here, where drums near-vocally poke through the muck, like rambunctious talking ghosts in machines. Warring allusions to lost humanity take shape on titles like 'Fractured Bones' and 'Tournament Species', where cyborg gladiators rise from their catacomb internments to face off against each other again and again, in haunted perpetuity. 'Different Takes' is the best example of the record's at times tempoless ferocity, scattering what remains as an intuitive pulse across phase-distorted gargles and made-wonky beat hydraulics.

Review: Entrancing deep techno from Bristol's Moth Club, embracing the umbral charge of longtime producer How Do, a recent populariser of the sound. 'Void' and its '128 Version' carry an essence of the original dub techno sound and its emphasis on atmosphere, though there are fewer percussive knocks or scrapes here; the track is more a sustained tonic glom of energy, and alludes cleverly, preconsciously, to the more UK-bass informed B-side, with its echoic vocals almost barely perceptible as such until we flip the record over.

Review: Who doesn't love it when new Legowelt music drops? The Dutch is one of the most prolific producers in the game but he never sounds the same from one record to the next. This time out he lands on Hotmix with a two-track 10" that kicks off with 'DRUMCOMPUTER GLORY.' It's a warped track with acid tinges, mirky synths, weird vocal samples and jacked-up drums that are raw and proudly old school. On the flip side is 'CASIO CTK630 HOMEKEYBOARD', a snaking groove with hissing hi-hats and more smeared, smudgy synths that make for an unusual but alluring atmosphere.

Review: Two decades deep into his career and still pushing forward, this seasoned German DJ delivers something that feels both timeless and fresh. The original version of 'Kingston Riddim' is a smooth, sun-soaked affair. Drawing from island dub but built with a crisp, modern hand, the track is full of warm organic textures and laid-back swing. The chords are clean and expressive without feeling too polished. There's a breezy confidence to the groove that makes it feel effortless. It's the kind of track that could slip into any set and feel right at home. Sato's interpretation dives into deeper territory. The bass rolls in thick and heavy while the chords get more tangled and echo-laced. There's a submerged quality here, like the track has been dragged through deeper waters. It's moodier than the original but still carries that same rooted sense of rhythm. This is one of those rare records where both sides hit in different but equally effective ways.

Review: Karachi-born, Toronto-based Measure Divide steps up for a first full EP on Mutual Rytm X here after having become known for reviving Toronto's techno scene through his FORMAT parties. Measure Divide has crafted a distinctive sound in that time which collides techno with innovative breaks and modular experimentation. Drawing from his experience in sound design and film scoring, this playful release departs from his usual serious tones by offering adventurous DJs and listeners a vibrant, chaotic journey through tracks like 'Wormy Wonderland' and 'Eeeeeermmmm' which mix unconventional percussive sounds, twisted synths, and caustic rhythms into real bangers.

Review: Unknown artistic exigencies from Planet Rhythm, on a new techno EP sunny-side-down flip of Groove Armada's 'Superstylin''. On the word-playing 'Super Groovin'', MC M.A.D.'s unmistakable vocals are lent an extra filling-out, as tranches of dub-technical motifs outpour from the centre mix. 'Just Won't Do It' eases up on the productive accoutrements, reducing the mix to a sustenant piping of 4x4 kick and organic pulsation, though the track makes ironic reuse of the acapella from Tim Liken's 'It Just Won't Do' in the breakdown.

Review: There are plenty of electro overtones to the brain of techno that Savtsenko kicks out here for his latest on Kinetic. 'Auto Pilot; is a raw, textural banger with corrugated basslines surging to the stars. 'Come Again' has hammering kicks and more slinky baselines this time with raw punk energy and 'Seductionizer' also brings great texture and a rather hellish vocal edge to slamming electro-techno low ends. There is no let up on 'Detox' with its slithering synth gurgles. A vivid and vicious EP, for sure.

Review: Ste Roberts, under his STEDIT alias, has been building a reputation for taking beloved classics and flipping them on their head. This latest release is no exception. Two synthpop anthems, once the defining sound of an era, have been reimagined, reworked, and unleashed across dancefloors all summer. It's not about the big-room bombast or predictable edits that cater to easy thrills. No, Roberts is more nuanced than thaticrafting something that feels at once familiar and alien. The first rework, Depeche Mode's 'It's No Good,' is a masterclass in restraint. The track's dark undertones remain, but Roberts pulls it into a gritty, subterranean space. It's a slow burn, keeping the tension tight while the vocals float above a relentless, pulsing beat. Then comes the flipiHuman League's 'Don't You Want Me.' What was once pure pop joy is now something altogether darker, more elusive. Roberts has stripped it back, laying bare the iconic vocals against a stripped-down, funky groove that simmers beneath the surface.

Review: An up and coming producer and more known for his dub techno roots, Stojche shifts gears with three tracks of futuristic techno. Bringing a harder, more pounding techno sound to Mutual Rytm, the title track, 'Stomping Ground', hits with catchy chords and a strong, dancefloor-ready rhythm, complete with infectious hooks that keep energy levels high. Side-2 begins with 'Oberheim' a percussive, melodic builder with a heavy beat that captivates with its addictive groove and some gorgeously dynamic layering. The EP closes with 'Consequence', a spacey, floaty track that lays beats over a shimmering, providing an outstanding end to a great release.