Tresor Germany At Juno Download

Review: Tresor's Archiv collection unearths two absolute classics from legend Juan Atkins and Audiotech for the seventh instalment in the series. First up, we have 2004's "I Love You", originally released on the Fast Forward EP for New Religion and still capable of stirring intense rushes of euphoria thanks to its ingenious beat chug and those familiar Atkins chords. "Techno City" is brought back to life for the second track and once again, it still sounds as fresh as ever, making the time lapse between 96' and now seem only a short, passing moment...essential.

Review: Although he was involved in Tresor from a distance - as a buyer for a record store in Detroit - Mike Huckaby has been called in to mark the label and club's 20th annivesary. The Detroit DJ has just put together a stunning mix of the label's back catalogue and follows it with this, his debut release for Tresor. More techno-focused than his releases for Synth or even Pacou's Cache, "Tresor Track" is based on steely drums and a churning chord sequence that gets more insistent as the track progresses. Special label, special producer.

Review: This remix of Tresor's latest signings throws up a whole load of surprises. For starters, there's Terence Fixmer's version of the title track. Less gritty and driving than usual, the French producer lowers his tempo and keeps his aggression in check. That doesn't mean that he's lost his sense of menace however, and the tense bass pulses and intricate percussion keep his take on "Leitmotiv" moving fluidly. Petar Dundov's remix of the title track also goes down the path less travelled; featuring a stripped back, understated rhythms, its ghostly chords are far more subdued than his last, epic album. Cari Lekebusch and The Black Dog provide the tougher dance floor options, on their versions of "Spinnenwabe" and "001a" respectively.

Review: On this debut release for Tresor, Puresque certainly lives up to his name. Inspired by the classic techno sounds of the 90s, Vor Leitmotiv offers DJ-friendly linear rhythms with few nods to anything outside of the work of Hood, Mills and Ruskin. The anonymous techno named "OO1a" sees a woozy filter ride searing metallic rhythms, while "Schlaflos" is reminiscent of the German label-club's glories as hissing percussion is joined with jarring metallic riffs and a wobbly bass for a Pacou-meets-Landstrumm lesson in dynamic club tools. There is only one nod to a deeper approach as "Spinnenwabe" supplants metallic fury with churning chords and a purring bass.

Review: Tresor chalk up a whopping 260 releases with Sleeparchive's A Man Dies In The Street Part 1. Roger Semsroth has always constructed dense techno from minimal means: dusty white noise, a handful of bleeps, solid drums and simple sequences melded into new forms by heavy doses of repetition and austere atmospherics created from the waste products of cycling parts. Spooky bleeps only make up the even half of the EP, with "2" dinging endlessly like a quantised but malfunctioning train crossing, while "4" sees Semsroth inject more life into his short wrung tonal bursts. "1" and "3" however are the remit of ringing metrical's, with Sleeparchive seemingly paying homage to Regis' mid '90s style of hard and grubby techno, similar to "He/1" and "He/2".

Review: A few years ago when the focus shifted from mnml to the classic 90s-inspired sounds of Berghain, Berlin-based artist Roger Semsroth did the unthinkable - he took a hiatus from techno. It seemed Semsroth had diverted from the record-release-tour-earn money model that is pervasive in all forms of contemporary music. However, the man behind Sleeparchive had merely taken a brief break - and it is quite obvious that for Semsroth, someone who will be around when most of his peers are back doing day jobs, three years is indeed a shortish period. At a time when all around him tried to outdo one another in the sincere techno stakes, he focused his efforts on making the most wilfully noisy, experimental racket possible. Semsroth brings that sense of experimentation to Ronan Point, his comeback techno record. Great waves of noise underscore the rivers of viscous bass and titanium-plated drums that are at the heart of these arrangements. Fused with the kind of austere bleeps that made releases like "Hospital Tracks" such classics, this combination makes a potent dance floor fusion on "Point Two". "Point Three" is less detailed and its rhythm is inspired by Detroit minimalism rather than the Finnish variant, but bookending this excellent comeback are "One" and "Four", which present the listener with impenetrable walls of dense, frazzled abstraction. Welcome back you brilliantly awkward bugger.

Review: This release is a reissue of two of German producer Udo Heitfield's albums for Tresor, from 2000 and 2002 respectively. The passage of time has done little to tarnish the productions and of the two albums, the three untitled tracks from The Ways of the Bodies have some bearing with dub techno, unfolding in a dreamy, jazzed out manner over the course of 20-30 minutes each. "Timeless" meanwhile is a more ambient work, but Heitfield manages to keep the listener's attention with the hour-long "All" and "You", two dreamy, abstract works. That they sound all the more relevant given techno's shift towards off-beat sounds is testament to Heitfield's timeless sound.

Review: With such a long and varied history and catalogue, distilling Tresor's story into a single compilation was always going to be a daunting task. Thankfully, the label has risen admirably to the challenge and SubBerlin - which is also the name of the upcoming documentary about the club and label - is full of well-known classics and hidden gems. At the iconic end of the spectrum are Juan Atkins's epic deep techno track 'Game One' as Infiniti; X-101's benchmark break beat rave 'Sonic Destroyer' and the awesome tunnel'n'bleep of System 01's 'Drugs Work'. But SubBerlin also showcases the less documented side to the label, audible on the dubby groove of Savvas Ysatis's 'On The Hook', Scan 7's visceral acid techno and James Ruskin's rolling drums and introspective synths on "Detached".