Review: Rising Boorloo artist Beltrac shows why he is so well thought of here with five tracks that deliver a dynamic collision of sleek, dub-infused minimal rollers reminiscent of the late '90s and early 2000s tech-house but paired with high-energy drum-driven explorations. After the bubbly synths of 'Tek Code' comes the more direct and crisp 'VIP Section (Otherworld mix)', then Side B features a standout remix of 'Echo Response' by Eora's dub master Command D who transforms the wonky bassline of the original into a hazy, after-hours dub techno gem. The meticulous production really elevates these irresistible grooves.
Review: 'Beltram Vol. 1' is arguably R&S Records' biggest release, thanks to its inclusion of the timeless track 'Energy Flash', which through various unexplainable forces has become instantly recognizable as the defining track of Netherlands rave. Revered for its reversed strings, low-murmuring voices (that infamous "ecstasy" sample) and crisp-clear acid lines, the track is backed up by three further bangers: the resonant sonic alkali Jazz 303, the gated-piano'ed Subsonic Trance and the early downtempo / big beat cut Psycho Bass. Here it is again, as timeless and essential as ever.
Review: Joey Beltram's second EP for R&S Records, which was originally released in 1991, is not as celebrated as his first, which famously included the peerless (and hugely influential) 'Energy Flash'. Yet, as this reissue proves, it remains a perfect distillation of the New York producer's breathlessly heavy, industrial-tinged and distinctively intense brand of techno. For proof, check 'My Sound', where raw, rave-igniting, Belgian-style lead lines dance atop a typically stomping, bass-heavy groove, and the fiendishly nasty, breakbeat-sporting, industrial-influenced mind-mangle that is 'Sub-Bass Experience'. Elsewhere, 'The Reflex' is a deeper and more psychedelic interpretation of Beltram's trademark sound, while 'The Melody' is a bustling breakeat techno shuffler built upon deep organ bass, occasional electro beats and sparkling lead lines.
Review: John Beltran's label debut sees the maestro flexing and showcasing the full spectrum of his composing and production skills over four diverse tracks.
Review: Benales returns to Construct Re-Form with five new electrifying dancefloor tracks in the vein of techno. Beginning from an orthodox Birmingham-school position but then gradually moving outward into ever-slighter expressions of nonconformity, it would be difficult to predict the stylistic move from echoic loomer-alarmer 'Cuphead' to the scratchy-stabby hard cutoffs of 'Grip', but hey, we're all for such movements.
Review: We're told that returning to Berlin has sparked a new playful side to Benjamin Damage's techno creations. Inspired by NIX's bold approach, he challenges his own sound on this new EP which brims with sharp sound design and dancefloor energy. Each track originates from live studio sessions where long takes of experimentation and play are carefully chopped and refined. Benjamin focuses on maintaining a seamless energy flow while ensuring top-tier sound quality and as you would expect of someone with his skills, the result is a meticulously crafted release full of dynamic and fresh techno.
Review: 'OHM Series #11' presents a vibrant mix of techno with contributions from four talented producers, adding depth to the ongoing series. On Side-1, Christine Benz's 'Sunset' opens with warm, enveloping chords, creating a serene atmosphere that feels like a sunset on a tropical island. Following that, Brizman's 'As We Should', featuring Linn, shifts the tone with a lighter, dub-infused house sound, perfect for a more relaxed vibe. Side-2 kicks off with Hidden Sequence's 'Dub Cycle', a darker, more ominous track, weaving catchy dub techno rhythms that pull you in. Finally, Martin Jarl's '02_37 AM' brings a smooth, ambient dub feel with a traditional techno edge. This airy composition evokes the timeless sounds and reminds us of Model 500's Starlight. This edition of OHM Series showcases diverse approaches to dub techno, balancing the atmospheric with the rhythmic - and all delivered with precision.
Review: Ali Berger has long been known for crafting soulful, dynamic house music whether through his label Trackland or releases on Spectral Sound, Clave House, Firm Tracks, and FCR. He also performs solo or with Davis Galvin as Hits Only when his unique touch always remains evident. This new 12" features four tracks that blend uplifting and introspective house vibes and it oozes class. Opener 'Sun Rising On Harmony' boasts an infectious bass line and melody, while 'Inside,' offers a classic acid house feel. On the B-side, you have the lovely 'Thoughts Like Light Snow' which delivers an alluring electro twist, while 'Mint Leaf' closes with a rich bass line and intricate details.
Review: Dutch label Brew returns with more moody techno that is both deep yet impactful. It's Robert Bergman at the helm and '3 AM' is his opening gambit. It has ghostly voices shimmering across the beats with a menacing low end, rugged bassline and scaring percussive sounds. '#5' is another fresh sound with great sound designs and alluring rhythms and last of all is 'Drum Trax' which is a third and final blend of nostalgic and futuristic house tropes for heady basements.
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: Interplugreaction is a track from Beroshima's 2007 album Real To Reel, but it's wasn't until 2023 that we (now get to) hear the cream of its reinterpretations. If only every track in the world could hear a remix from the likes of Marcel Dettman and Rodhad! Perhaps this calls for an entirely new industry - in fact, let's lock the artists in a room just so they can churn out the music and nothing else. Actually, a whopping four techno heavyweights (also including Frank Muller and Henning Baer) to reinterpret the classic track, with the new mixes ranging from stuffy and oppressive to airy and stark. Certainly not one to miss.
Have You Ever Played In Abidjan? (feat Tutsy N'zore) (6:37)
Review: Lyon-based Brazilian Pedro Bertho is an accomplished producer who now steps out with his own label, fittingly enough called Chez Pedro. It kicks off with a new EP 'Starlit Crates' which has already been teased by the well-received 'Have You Ever Played in Abidjan' (exclusive aired on Juno Daily), which paid tribute to that vibrant city and the Ivory Coast. 'Have You....' is a collaboration with percussionist Tutsy N'Zore, who adds great layers to Bertho's deep grooves, but there's loads going onelsewhere too.. 'Let Me Show You' has what sound like ambient recordings from a bustling market over bass-driven beats. 'Blue Hot Monday' is another humid and muggy deep techno mind melter and 'Shaved' is a crisp, tech-edged cut with frazzled synth work for peal time deployment. A great example of making functional, floor-pleasing grooves that have oodles of personality and character at the same time.
Review: A repress of Innershades & Betonkust's 2018 new beat sensation 'Forever In Boccaccio!' has long been requested by hardcore record collectors. And now it has become available and has been fully remastered and housed in a new sleeve design, limited to just 300 copies. It was first made, according to the two being it, in January 2017 "under grey Belgian skies," when they had been consuming lots of acid and new beat, which of course shows. The title cut is brilliantly dark and gothic but is backlit by haunting vocal harmonies and underpinned by a menacing bassline. The three other cuts explore similar moods and grooves with great authenticity.
Review: Adam Beyer seems to be in a superb run of late and this is his second vinyl outing in as many months. Desert Queen is pure Beyer, and pure Drumocde - drum-led techno for the main room with sweeping synths and grand vocals that are designed to impact crowds of thousands. The A-side actually brings a touch of trance energy and hard techno funk with its slamming, flat-footed drums, coarse synths and brightly lit arrangements. 'Soulful' then flips the script with a more funky groove that rocks back and forth and has funky basslines and a pitched up r&b vocal that works strangely well in the unusual context.
Review: For his first outing of 2019, Adam Beyer has turned over the parts to his 2014 single "Teach Me" to Belgium's first lady of banging, acid-fuelled techno, Amelie Lens. She subsequently serves up two throbbing, peak-time ready revisions, with the A-side "Main Mix" offering a near perfect blend of booming, kick-drum driven beats, military snare fills, cut-up late night vocal samples and distorted, mind-altering riffs. As the title suggests, the flipside "Acid Remix" sees Lens indulge her love of mind-altering TB-303 acid lines, brilliantly wrapping them around a springier drum track, EBM-influenced melodic motifs and more pulsating, manipulated vocal loops.
Review: Drumcode label head and the so-called CEO of Business Techno steps up to his own mighty Drumcode with an outing which keeps him at the forefront of big room sounds, which is just where he has been for more than a quarter of a century. 'Ghost Kiss' hammers out edgy drums and ghoulish vocals bring character to the musical rhythms. On the flip is 'Pilot' with its flashy, trance-tinged synth energy and menacing basslines. 'Jack' is a hard and dark cut with motoring drums and sawtooth synths that bring plenty of on-point maximalism.
Review: Drumcode supremo Adam Beyer has become increasingly more prolific in recent years, signalling a creative renaissance that recalls the undoubted quality of his work in the late 1990s and early 2000s. His first outing of 2024, which follows a quartet of EPs last year, is predictably strong and packed to the rafters with future Drumcode anthems. Fittingly, he starts with 'Let's Begin', where mutilated vocal loops, mind-mangling rave noises and unsettling melodic motifs dance atop a typically thunderous and breathless big room techno groove, before opting for a dirtier, acid-flecked groove, metallic noises and sped-up hip-hop vocal samples on 'Computerized' (hip-techno anyone?). To round things off, he goes darker and denser still on the loopy techno power of 'Red Room', which pleasingly also boasts the same Aisha vocal sample as the Orb's 'Blue Room'.
Review: Adam Beyer continues to refine his vision of techno with a release that melds intricate sound design with driving rhythms. The lead track layers ethereal synths and hypnotic vocal refrains, morphing into a pulsing, primal groove anchored by precise percussion. It's a masterclass in atmospheric tension, balancing futuristic elements with raw energy. The second track delves deeper, driven by metallic basslines and siren-like hoover tones, creating a dystopian soundscape that's both immersive and ominous. Beyer's ability to seamlessly fuse cutting-edge sound design with dancefloor functionality reaffirms his status as a cornerstone of modern techno.
Review: Two right legends of techno unite here for the latest release on Drumcode. Label chief Adam Beyer presents 'Restore My Soul' featuring Chicago hard techno veteran DJ Rush, their relationship stretching back nearly three decades from when they both started out in the' 90s. The title track is aimed squarely at the main room dancefloor; a seething, mental groove featuring Rush's stern vocal delivery atop, before taking the energy levels into the peak time on the adrenalised thrasher 'Control'. Over on the flip, you are treated to a rework of the title track by DJ Rush himself in his typically stomping and orotund style.
Review: The latest from Swedish techno legend is a full-throttle techno assault, pushing Drumcode's legacy forward with relentless energy. The title track is a peak-time juggernaut, built on heavy chords, pounding kicks and a futuristic intensity that commands the dancefloor. With its driving momentum and anthemic hooks, it's a high-octane statement from two producers at the top of their game. On Side-2, 'Living In The Moment' ventures into atmospheric territory, teetering on the edge of trance with sci-fi textures and sweeping builds. Its long, tension-heavy progression culminates in devastating drops, overloading the senses with a euphoric yet punishing crescendo. With Drumcode nearing its 30th year, this release proves there's no slowing downithe label continues to deliver high-impact techno designed for maximum effect. Beyer and Brown's collaboration is a successful dose of tension, release and unrelenting intensity.
Adam Beyer & Enrico Sangiuliano - "Preset Heaven" (8:17)
Timmo - "Muzik" (6:11)
Pig&Dan - "La Bruja" (6:37)
Julian Jeweil - "Nasa" (6:11)
Review: Some serious peak time weapons for the main room on offer here, from the ever reliable Swedish label Drumcode. Usual heroes of the label such as Luigi Madonna, Sam Paganini and Joseph Capriati step aside for some other equally reliable staples. On the A, side label boss Adam Beyer teams up with Enrico Sangiuliano on the evocative and life affirming "Preset Heaven" which takes its cues from early trance with its amazing chord progression. It is something more typical of the label next, on the pummelling warehouse stomp of "Muzik" by Bulgaria's Timmo. On the flip, there's more trance nostalgia on offer again - this time from legends Pig & Dan on the hypnotic/melodic bliss of "La Bruja" which we could imagine melting the minds of festival crowds well into the new year. Finally they save the best for last with French peak time specialist Julian Jeweil, serving up the furious, tunneling and strobe-lit ultraviolence of "Nasa" which will have your adrenaline going from the first beat. It has been a stellar year for the powerhouse label, with great releases by Moby, Dubfire and newcomer Layton Giordani.
Review: Adam Beyer and Green Velvet are legendary names in techno music for over 30 years now. Their powerhouse track 'Simulator' receives a set of fresh remixes, extending to some producers to show off their version of this lofty new classic. First up, Mha Iri, a pivotal figure for Drumcode, delivers a scorching remix. She retains the original's fierce bass stabs, using them as formidable motifs, while injecting an abundance of intensity through electrifying builds and drops. Next, Odd Mobb, an emerging talent from Australia recognized by Fred Everything and Skrillex, infuses his four-minute rework with high energy. His remix emphasises the low-end elements and introduces vibrant new bursts of color, creating a dynamic rendition that keeps listeners engaged. Finally, Chris Avantgarde, known for his inventive productions, crafts a remix that defies genre boundaries. Combining elements of breaks, bass, electronica and techno, his interpretation spreads across all of his personal influences. Pressed on neon green 'rippled' vinyl, this record looks as dangerous as it sounds.
Adam Beyer - "Take Me There" (feat DJ Rush - Carl Cox remix) (6:24)
Matt Guy - "Give Me What I Want" (6:16)
ADHS - "2STEP" (6:22)
Kaiserdisco - "Get On The Dancefloor" (6:51)
Review: The big room techno don that is Adam Beyer is back with more potent techno weaponry on his own Drumcode label, this time with part two of the 12th volume of his A-Sides series. His 'Take Me There' is first up in remix form and Carl Cox flips it into a surging peak time roller. Matt Guy's 'Give Me What I Want' is an emotive banger with big synth energy and reverberating vocals while ADHS's '2STEP' hits hard with its flaming drums and trance-y synths. Kaiserdisco then brings dark, stomping warehouse energy to their raved-ready 'Get On The Dancefloor.'
Review: Adam Beyer shares his first collaboration with Vintage Culture, 'Lift Me Up' featuring Kyozo. A suspenseful covenant formed between three huge-room techno striators, 'Lift Me Up' was born from a fruitful back-and-forth shared on the road to Sonus Festival in Croatia. Packing a clenched sawtooth lead - one that hardly requires the development that the track nonetheless indulges by way of tuned impacts and chord transitions - this one ends up a dramatic build, as a vaunted vocal lines abjures us to "lift me up", as we listeners end up, paradoxically, the ones uplifted.
Review: Bezier returns to Dark Entries with Valencia, a six track rumination on memory, geography, and transmutation. Multi-instrumentalist Robert Yang's Bezier project has appeared on Dark Entries many times over the last decade, most recently with the 2018 LP Parler Musique. Says Yang, "What started as a project to investigate the love of the sound and scenery while living in San Francisco quickly developed into a passionate search for interlocking melodies and driving rhythms." On Valencia, Bezier invokes twinned places. The Valencia Street of San Francisco is channeled, which was the center of the city's vibrant new wave scene in the 1980s. But also echoed is Valencia, Spain, and La Ruta del Bakalao aka La Ruta Destroy, the Spanish clubbing scene throughout the 80s and 90s famed for its aggressive and synthetic sounds. Valencia is a darker record for Yang, exploring themes of submission and catharsis with nods to SF's gay leather bars of the 70s and 80s. The high BPM salvos of "Valencia" and "Scrupulous" capture the frantic energy of Bakalao and Valencian wave acts like Oltima Emocion. Elsewhere Yang mines the dreamy space disco and Hi-NRG sounds they're known for, like on the brooding "Past the Marshes" or the anthemic "Reservoir", which features their partner Len.Leo on vocals. Bezier deftly navigates past and present, light and dark, pain and pleasure, the stasis of memory and the flux of time. Valencia was mastered by Alex Michalski, with EQ for vinyl done by George Horn. Gwenael Rattke designed the sleeve, which features an 80's punk zine-esque geometric grid pattern mirroring San Francisco street maps. Also included is a 5x7 postcard with notes.
Review: Bezier's Negative Velocity EP marks the launch of their new German-based label Korperspannung. Formerly a Californian artist and now a Berlin resident, Bezier has a career spanning nearly two decades, from illuminating the Honey Soundsystem collective to releasing on Dark Entries records. Known for weaving diverse cultural influences, lifelong music enthusiast Robert Yang collaborates with Bay Area drummer Dave Easlick here as live drum recordings morph into curves and ellipses to shape a multi-dimensional landscape. Tracks like 'Diabolical Embroidery' and 'Deep Sea State' showcase Easlick's drumming prowess and infused with Bezier's melodic craftsmanship, reflect a meticulous working collaboration.
Review: Steve Bicknell does not muck about on this one. The 25 year techno veteran is a UK mainstay but somehow often rather slips under the radar. Sure, he had a few years away from 2005 to 2013, but he has rarely made a misstep since for fans of hard, dense techno. After EPs on Ostgut Ton and highly touted collabs with Function and Luke Slater as LSD, he's back on his own 6dimensions with an EP that you may have already heard DJ Nobu and Jeff Mills playing in recent sets. Three of the cuts pack a visceral punch, with hammering drums and walls of sheet metal synths and frazzled percussion applying huge amounts of dance floor pressure. Our pick of the bunch: hypnotic and stripped back closer "Undue Identification".
Review: Given that legendary London DJ Steve Bicknell was one of the earliest champions of "proper techno" in the UK, it's been heartening to see his recent renaissance. Renewed interest in his 1990 productions has allowed him to issue a string of previously unheard gems from the vaults. Awakening The Past takes this approach, too, serving up a trio of previously unreleased gems from 1998 - the wonderfully trippy, late night techno loop jam "Physical Life", ragged acid workout "Natural Vibrations" and even more psychedelic "Fearing The Mind's Fears" - and a cut recorded earlier this year in Berlin. Interestingly, the latter - an intense, bleeping, modular-sounding slammer entitled "Conscious Awakening" - sounds like it could have been recovered from the same dusty DAT as the other tracks, despite being 100% new.
Review: Bidoben steps up to Clergy with a potent new six track techno outing that is all about immediacy on the dance floor. 'Reduce & Yearn' kicks off with a hulking great drum line and pulsing synths that are topped by all manner of twisted stabs and paranoid sounds. '98 Fahrenheit' is just as edgy with shrieking synths keep you on your toes while the macho drums march on and 'Lenteur' then layers up more heavy bass and kicks with detuned effects, distant bells and general dystopian decoration. Three more linear but richly atmospheric cuts take up the B-side on this hugely effective 12".
Review: With this latest hyper-abstract club release, Italian-born, London-based producer Big Hands straddles an impressive range from chthonic sound design to readily lock-innable grooves. Named after the Roman equivalent of Dionysus, the god of fervour, celebration, and debauchery among other vices, 'Bacchanalia I' and its three inversions touch on furrows dug between dub techno, dubstep and brutalist techno no man's lands and they grow in intensity with each passing track. By the time of our tricky and energetic favourite, 'Bachannalia III', us bacchanals find ourselves raising a blood-filled chalice, haemoglobin spilling about the place.
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