Bestsellers last 8 weeks

Review: It's hard to believe that Sweden's Drumcode has been going since 1996, but Adam Beyer's imprint celebrates its fifteenth birthday this year, and as part of the celebrations the label have released this essential 28-track compilation. Instead of looking to the past, as is usually customary with this kind of collection, 15 Years of Drumcode focuses on the newest work of the label's current roster alongside new material from some well known names from the label's past and special contributions from some bonafide techno legends. Highlights come in the form of Slam's powerhouse "Temperance", and the percolating, acid tinged textures of Jesper Dahlback's "No Control", the pulsating robo-techno of Patrick Seich's "Structure", and the dubby atmospherics of Mauro Picotto & Riccardo Ferri's "Asteroids".

Review: For those with no concept of the studio intricacies that go into producing music, there are certain artists whose traits ensure their productions constantly fascinate. Mr kick drum Blawan certainly falls into that category. The London based Barnsley lad has enjoyed what some people might call a rip roaring 2011, scoring success after success on whatever label is lucky enough to house his music as well as starting his own label initiative with Pariah in the shape of Works The Long Nights. Given the increasingly bezerk techno nature of Blawan's material, it seems natural that one of this year's most consistent imprints in Clone would seek him out for some magic. And Peaches is up there with Blawan's finest work, smartly following Untold's debut on the Basement Series with four track based variations on the fruit every bit as devastating as the Hemlock boss's 12". Those trademark burrowing rhythms and indescribable drums sounds are present throughout each track and you get the feeling Blawan has as much fun making this sort of music as we do listening to it.

Review: The Versatile main man and one half of Chateau Flight doesn't drop as many singles these days as he used to, but at least when he holds off he can come correct with some firepower for the floor. Sizzling hats and a solid disco beat set the tone for "Transpiration" while the meat of the track comes in the form of a nasty old-skool rave stab. It's a monster tune that should get sweat pouring from anything in a five-mile radius. The title track is a pacey, Italo flavoured cut that seems to intentionally challenge the demonic moniker, while "Jah Menta" opts for a deeper shade of disco. Highly recommended.

Review: If you're looking for a release that touches on the harder end of techno while giving some nudging recognition to old school sounds, then Borger is for you. "Sperm In Space", a collaboration between Limewax & Cooh, is a heavy, distorted broken beat workout, similar in nature to Rodz Konez output, albeit less sinister. Meanwhile, the title track is based on metallic break beats, frenetic enough to work for a drum'n'bass DJ, and a scene-setter for the rest of the release. "Pectus" sees Cooh fly solo and mix up wide eyed melodies with distorted hardcore kicks and heavy siren riffs, while the duo go even further down the rabbit hole with "Gab5"; dense, dark and powered by high speed break beats, it makes for a disturbing update on classic hardcore.

Review: While it might be tricky in these open-minded times for Scuba to shatter preconceptions the way that he did with his Sub:Stance mix a few years ago, this compilation should be seen really as a celebration of the man himself as a DJ. After launching with a decidedly minimalist approach, the mix meanders between pacey techno, bluesy broken beat and rolling dubstep tempos. At times the flow feels unsteady, but then it just rings true that he put this mix together for himself. Without a dancefloor to look after, who knows where many of our favourite DJs might take us?

Review: The news of a new album from label boss Scuba is just the tip of the iceberg on what promises to be another watershed year for the Hotflush imprint. And they get off to an excellent start with this label debut from Belgian producer Locked Groove, displaying an obvious talent for the sort of floor fusing music Hotflush are becoming increasing renowned for. Lead track "Rooted" is notable for the effortless way in which it builds from the gliding textures of the early moments and morphs into a bumping rhythm lead brilliantly by the analogue bass and skittering syncopation before switching back again. Having premiered on Scuba's DJ-Kicks contribution, "Drowning" appears here, mercifully allowing us a chance to fully immerse in the plunging rhythms and foundation worrying kick drums. "Change" closes the EP, showing a talent for subtle mood filled arrangements too - all skittering rhythms, deft vocal samples and deep pad infractions.

Review: Judging by this release, Helium Robots producer Ewan Wilmott should be one to watch this year. Having previously only released two wonky slabs of leftfield disco on Dissident way back in 2008, he's hardly prolific. Yet the two original tracks here suggest there's much more to come. Opener "Crepitation" cranks and bubbles its way through six minutes of IDM-goes-disco oddness, somehow managing to sound thrillingly cutting-edge and lovingly familiar. "Jarza", meanwhile, somehow distils the piano-laden beauty of Larry Heard style deep house and shimmering Balearic disco into something distinctly new. As if that wasn't enough, the mighty Theo Parrish pops up to turn "Jarza" into two sub-heavy chunks of late night freakiness. Highly recommended.

Review: One of the cheekiest cuts from their rip-roaring Monkeytown LP, Modeselektor draft in their old buddy Otto Von Schirach for some nasty electroid bass action. Appearing here in dub form, the edits of "Evil Twin" come thick and crafty, while the rave-ready sensibilities remain intact, pirouetting around an insistent yet ever mutating bassline. "German Clap" however sees the boys tackling a more UK Funky led approach, offset by monolithic crescendos of synths. With a mid-section break reminiscent of Altered Natives' "Rass Out", you can't really go wrong can you? Once again Modeselektor prove that you can straddle depth and chaos in dance music and make it work.

Review: The perception may still linger that Tony Allen's influence on modern electronic music is limited to Afrobeat or broken beat, but as this remix compilation attests, his influence looms large in other, unexpected places. On Chop Up, for example, Carl Craig finally delivers his response to his evergreen 2004 version of Beanfield's "Tides", with hypnotic chants, rolling drums and brassy breakdowns dominating his take on Allen's "Kilode". Equally, Mark Ernestus is inspired to push Allen legacy into the realms of low-slung house, with "Moyege" transformed into a languid, dubby disco rhythm. However, it's not just the more cerebral end of electronic music that has been seduced by Allen's genius: US star Diplo also contributes to Chop Up, with a squelchy, party take on "Fuju Ouija", while other unexpected contributors like Hypnotic Brass Ensemble and Salah Ragab keep the mood upbeat: the former drops an irresistible swaggering version of "Sankofa' and the latter brings a flavour of Notting Hill Carnival to "Ole", as celebratory brass competes with sunny day ivory tinkling. In spite of these joyful renditions of Allen's legacy, the version that we keep returning to is Moritz Van Oswald's take on "Ole". It's fascinating to hear that Allen's tumbling, rambunctious drums informed the Basic Channel member's work in the same way as King Tubby, but even more fascinating is what van Oswald does with Allen's drumming. Transforming them into solemn but understated marching beats, he uses them to underpin the most atmospheric, woozy dub chords this side of "M6".

Review: Baby Ford's long running Trelik label enjoyed a more prolific year in 2011 than at any time in the past decade, and Whalesong is a fitting end to a glorious 12 months. If you've been following Och's releases, then you'll know what to expect here. The title track sees the mysterious producer drop dubbier, full blooded beats and billowing chords over a surging groove, while the use of shuffling drums and a stuttering vocal lend the track a memorable signature. "Blind Is The Wind" is an unusual ambient affair thanks to the inclusion of a confused vocal, but Och returns to his natural habitat on "Last Chance Saloon", which features more of the same pumping beats and dreamy chord sequences.

Review: LA producer John Tejada has always been a consistent artist, but "Condition" is one of his most memorable releases in the past few years. Instead of focusing his efforts on intricate sound design, Tejada has decided this time to play solely to his greatest strength - his sense of melody. The title track is based on a purring melancholic bass that builds gently yet which contains a hint of menace, like "Snivilisation"-period Orbital in techno mode. However, it's "The Living Night" which really impresses: over a rolling yet more understated bass, its mournful, trancey hooks build and ebb in that effortless manner that only Tejada is capable of.

Review: The latest set of dancefloor weaponry to be culled from Blawan's seemingly bottomless arsenal arrives after the requisite months of Rinse FM teasing and subsequent YouTube exposure. The familiar strains of Black Mahogani's iconic boss are shredded to bits in the Blawan blender, ensuring "What You Do With What You Have" sits worlds apart from recent tracks that have plundered similar territory. A truly incendiary concoction of gnarled out acid lines and cavernous techno stabs, it's the constant rhythmic switching between the two over a trademark thumping drum flex that impresses. By the time the runout groove is in sight, KDJ sounds knackered, which is entirely understandable. "Vibe Decorum" comes poised with equal potency, wrapping a stretched vocal hook around growing layers of drum to snapping point before letting slack and dropping into the main thrust. From here, there are countless dizzying rhythmic swerves urged on by the oddest of numb sounding vocal intonations - such is the intricate nature and detail of his production, it's hard to work out exactly how Blawan conjures up these tracks but long may he continue to do so!

Review: Take The Plunge sees Dave Huismans return to the A Made Up Sound moniker for the first time in a year, following the superb Fever album under his 2562 alias. Huisman is known for his particularly unique productions, but "Take The Plunge" is perhaps his most mind-bending yet, combining his signature garage-inflected techno rhythms and combining them with syncopated samples, chopped and distorted beyond all recognition, while their pneumatic drill-like quality pans across both channels at irregular intervals. The (digital) B-Side sees "Anger MGMT", which, despite its name, is actually less aggressive then its counterpart. With the same kind of clattering, ramshackle beats, it is a slightly more straightforward techno track, albeit with dub influenced bass and scaffold pole percussive qualities providing its flavour. The EP closes with "Take The Plunge (First Thought)", a beatless version of the original which regardless of its abrasive jackhammer tones, actually has a bizarrely soporific effect. Another fantastic EP which is further proof of Huismans' unique genius.

Review: Luke Slater is a survivor. Not in the physical sense, even though he has lived enough for three people, but because two decades after the UK producer started putting out music, his latest album features moments where the listener is forced to admit that it follows a path that few others have dared to venture down. The main reason for Slater's ongoing artistic relevance is down to him opting for a new approach. Whereas during the golden age of UK techno he was writing his own rules as he went, gifting the world "Booster", "In From The Night" and My Wise Yellow Rug", in his modern-day incarnation he has learnt invaluable insights from the output of those he influenced, absorbing their nuances as a starting point. However, he then applies his own wonderfully skewed thinking, which explains the panning, whiplash rhythm of "Bell Blocker", a track that sounds both familiar and utterly alien, or "Wriss", which - unusually for Slater's techno productions - features a vocal snippet. Invariably, comparisons will be made to other Ostgut artists, but it's hard to imagine any of them daring to even imagine a track like "Rip The Cut". In true PAS form, the beats sound like they're exploding from the speakers as the bass patterns build and build to the point of distortion, tempered only by reverberating claps.

Review: There's a reason that Drexciya are considered by many to be the most influential of all Detroit techno and electro acts. Aside from their addictive combination of mysticism and mystery, Gerald Donald and James Stinson made fabulous music - genuinely otherworldly electronic compositions that have stood the test of time. Whether you're a confirmed fan or Drexciyan novice, Journey Of The Deep Sea Dweller should be essential listening. The first of four collections of classic material to be released by Clone, it gathers together their brilliant early '90s works in newly remastered form. Bristling with raw analogue funk and far-sighted techno, it's a timely reminder of their immense talents. Simply essential.

Review: The debut Sandwell District finally arrives in the digital domain. The US-UK collective, comprised of Regis (Karl O'Connor), Function (Dave Sumner), Silent Servant (Juan Mendez) and Female (Peter Sutton), have hit a raw nerve with their dark, cerebral sound that has been cultivated by the meeting of some of the genre's most singular minds. This version Feed Forward differs slightly from the original vinyl release, but still includes the three majestic parts of "Immolare", with a robust techno throb sandwiched by an intro/outro of atmospheric synth rhythms and barely-there vocals. The main body is dominated by a particularly abrasive sonic hook, which takes you through the darkest of tunnels before re-emerging into the light once the beat drops out and the gentle synths return to the fore. Things toughen up on the flip, with "Grey Cut Out" dropping straight into a demented broken beat, before "Falling The Same Way" offers the LP's most emotive moment, with abrasion swapped for warmth - gentle snare hits, occasional bleeps and another delicious analogue melody provide the rhythmic foundation. The overall result is one of the best techno albums in a very, very long time.

Review: The reinvention of former nu-disco producer Maelstrom continues apace, as he drops his second EP of early 90s house jams for Endless Flight under the Arthur James Denton moniker. "An Odyssey" looks further back for inspiration. The lead track fuses the early deep house sounds of Nu Groove with a dash of original Chicago acid, resulting in something that's but rough and glisteningly smooth. "Loon" pairs Lone-ish revivalism with DJ Gregory style Afro-house, whilst Legowelt weighs in with a shimmering remix of the title track. His version is gloriously Balearic - think Nacho Patrol on Red Bull, and you're close.

Review: Inigo Kennedy discards with the deepness shown on recent EPs for some thoroughly dirty techno on his latest EP for Token. Heavily road tested on his worldwide DJ travels, "Revenge" and "Scatter" operate on different levels, with the former building layers of dubby rhythms over the foundation worrying drums. It's peak time business which contrasts with "Revenge", a dystopian trawl through skittering percussion, IDM soundscapes and bass that sounds fit to burst. Remix duties are undertaken by perma busy Blawan, commissioned to tweak "Revenge" after Kennedy realized the two had a mutual appreciation. As with the recent productions from the SoYo hero, this is brutal techno dominated by those unique drum sounds.

Review: John Malkovich and Daniel Day-Lewis have garnered the reputation of being actor's actors. Ashley Burchett aka Phase is proving to be a producer's producer, certified by commissioned mixes from the likes of Robert Hood, Dave Clarke and Ben Sims, as well spots in Resident Advisor podcasts by Surgeon and Carl Craig. Since 2007 Phase has been channelling his burrowed beats and jarring analogue riffs through Belgian and techno genuine imprint Token. A mastering engineer by trade, Burchett achieves perfect equilibrium in his mix downs where no sound or artefact dominates the other. Shifting crackles and resonating textures cosy up to looped rhythms of "Binary Opposition (Process 1)" which Phase substitutes for more melodic yet insidious soundscapes in "Binary Opposition (Process 2)" - handing the likes of Dettmann and Nodge some early afternoon Berghain fodder with two tracks harbouring the longevity needed to fuel their legendary Sunday sessions.

Review: At a time when classic-sounding techno is at a premium, Boris Bunnik aka Conforce is one of its main proponents, right? Wrong. It would be too easy and simplistic to dismiss the Dutch producer as merely revisiting the sounds that were current during the mid-90s, and Escapism, like his other releases for Clone, Rush Hour and Delsin, does much to dispel any pre-conceived notions about him. One of the common themes and sources of inspiration on the album is Bunnik's love of swirling, ambient textures. Spacey melodies unfold all the way through "Aquinas Control" as a dubby, rippling bass takes hold, while on the title track, glassy percussion and shuffling 808s provide the electro backing to Bunnik's atmospheric chords. There are times too when it sounds like Conforce has completely immersed himself in electronic music's reflective, esoteric side and the evoactive, shimmering synths of "Timelapse" could have been part of a long lost sci-fi soundtrack. On other occasions, Escapism sounds earthy, grainy and twitchy, especially on the detuned textures of "Diversion" or "Revolt DX", which sees Bunnik drop a gained, jarring rhythm track. However, the real highlights occur when Bunnik occupies a place where all of these sounds meet, like the ghostly pads and forceful bass of "Elude" or the hushed tones and uplifting synths of "Ominous". It's also where you'll find this year's most eloquent articulation of techno escapism.

Review: After a brief period of inactivity midway through 2011, it's good to see 7even back on fine form again. At the point when dubstep was well and truly exploding in everyone's ears, the French imprint stood as one of the first trustworthy bastions of the techno bass music crossover, with a strong contingent of loyal artists on the roster. "Nocturnality" sees Joaan applying dubstep and garage signifiers to a steady house beat. The key hook is the mid 90s organ synth, here played out with a mournful quality that lets it echo around fellow pads for an altogether deep and engaging track. "Out Of Slang" meanwhile plots a more familiar trajectory for industrial-strength dub styles. The space in the track is palpable, with the punchy bassline taking all the glory while the beat patiently waits its turn to get stuck in. Highly recommended.

Review: The second instalment of Form provides accurate snapshots from contemporary techno sounds and styles. In its original format, "Floating Point" is an austere, bleepy Sleeparchive-style groove, its sonic blips lent additional weight thanks to snappy, Klock-style percussion. Dutch producer Delta Funktionen brings a dubby approach on his rework, fusing it with a tunnelling, hypnotic riff, for a darker sound than is his wont, while "Magnetic Field" is a dark, industrial-tinged sound scape. There is also a look to the past as Ben Sims drops an acid-coated, loop techno take on "Shifted Reality" - but in the main this second volume is a forward-facing collection.

Review: Fachwerk signs off on an excellent year in the best way possible - presenting this collection of all new material from label bosses Dehnert, Lindau and Rydell. Roman calls shotgun with the brain matter scraping, gutter punch rhythms of "Hurt" that masterfully crafts the relentless motion from indecipherable vocal fractures. As finely poised as the track is, the A-Side is dominated by the subsequent collaboration between Lindau and Dehnert. "Sophia" is perhaps the most dementedly brilliant production to surface from the Fachwerk studios yet, with the dense swamp of bass and singular drum kicks in the opening bars not really giving prior warning to the thrilling rhythmic mess of saturated acid and panning vocals. Dehnert is in more familiar foundation-pummelling form on the flip with the caustic and unrelenting "Blattwerk" which explodes with colourful textures midway through, whilst Sascha Rydell has the last laugh with the pressurised percussive presence of "It Happened". Big tip!

Review: The new Crossover Series from the Sound Pellegrino crew makes for a canny and eye opening endeavour, offering the chance for like-minded producers from different paths the chance to collaborate together with the aim of "crossing the invisible bridges of the great house music archipelago". The standard for the series is set truly high on the inaugural release that sees Alex Bok Bok Sushon team up with Tom Trago for the Night Voyage Tool Kit EP. The six tracks see Trago and Sushon deliver heavily, stripped down drum trax informed by a love of Dancemania era Chicago House. At times the results are playful; see the opening track "Pathfinder" - little more than the duo checking out how pliable the rubbery analogue tone at the core is, with drums stripped down to a hissing undercurrent. More structure is evident on the skeletal "White Type R", which slowly unfurls into compressed head jack material, though that playful sense of melody creeps through intermittently. As the EP progresses, the overarching feeling you get from this release is two producers becoming increasingly comfortable working together - see how the vocoder led "Time Master" unexpectedly bursts into a percolating 23rd century p-funk out. It's obviously just the start of much more from the duo, with Trago revealing the duo will continue their Night Voyage endeavours in some shape or form.