Bestsellers This Week

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: 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: First released on Ben Sims Theory Recordings as a 12" in 2009, Mark Broom's "Things" harks back to the raw and rough aesthetics of 90s techno and rave. Brick wall compression sees Broom's original relentlessly crunch, suck and pump until ravey key stabs big enough to fill a Tiesto sized stadium enter the fray. Broom's VIP mix will cause 90s nostalgia seekers and bright eyed youngsters alike to desperately wave their phone in the DJs face with the words track id? Broom super loops his original, occasionally dropping the kick or bass whilst unashamedly sampling Steve Poindexter's '89 club hit "Work That Mutha Fucker". The NYC mix is a more polished production taking "Things" down a minimal and techy route with strings, climbing blips and square pads all in tow. Paul Mac ups Broom's rave antics by plodding a ravey bass line that gets phatter with every stab against crisp hats, tribal percussion and filtered vocals.

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: 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: 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: "Acrophobia" - meaning an extreme or irrational fear of heights - is the latest showing from G-Man & Rob Strobe. Adam X's venerable Sonic Groove imprint is the first of the techno majors to snap up the rising duo, and it's a decision that pays immediate dividends: the linear groove of "Courage" will see any hip high fist pumper down the last of their drink and steer themselves toward the dance floor. "Skotch" ups the ante but dims in mood as rolling drums accompany wistful leanings of dub techno, whilst "Fit" sees G-Man & Rob Strobe opt for a lift in consciousness via resonating dub techno atmospherics that resemble a more abrasive version of Wincent Kunth's remix to Marcel Dettmann's "Wound Up".

Review: There's no holds barred on 4 Of Eyes as Gabeen and Tosi deliver a hard-edged release. The title track sets the tone with heavy, distorted beats and panel-beating drums commanding the landscape. "Psycho-analysis" is even more intense as the duo lay down a stomping rhythm that provides the backdrop for waves of metallic percussion, cheese-wire percussion and screeching siren riffs that make for a thrilling crescendo. By comparison, the Mooncraft remix is more relaxed, focusing on stripped back rhythms and a slower tempo - but here too there are echoes of the original tracks' intensity thanks to a satanic vocal sample and ravey tones.

Review: At the moment nothing quite says German techno as much as Berlin's Vault Series. Now up to their eighth release via Subjected's solo Vault Series 8.0, the label again refuses to deviate from their renowned take on four to the floor purism. "008 A1" bristles with booming kicks and menacing chords that embrace heaving functionalism, whilst the pounding and stepped rhythms of "008 A2" sees stone cold percussion facilitate the fusion of industrial abrasiveness. The crunching beats and thundering bass lines now synonymous with Vault Series reigns supreme on "008 B_V1" - intent on obliterating anything in its path - whereas "008 B_V2" opts for a less crunch-more punch approach. V2 also brings V1's breathy vocal snippet to the foreground of its mix, allowing for more play among contorted synth stabs. Subjected is one of Berlin's most devout when producing industrial strength slabs of club techno, and once again he fuels a Vault Series juggernaut that relentlessly marches on.

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: The people who got to know Niels 'Delta Funktionen' Luinenberg through his ponderous Electromagnetic Radiation release or the adeptly programmed warm-up sets posted online may be surprised by the approach on Inertia. However, its direction could hardly be described as unexpected. The second volume of Electromagnetic Radiation and the grimy warehouse techno of Silhouette make perfectly clear that the Dutch DJ/producer likes to play it hard as well as deep. In that regard, Niels is not alone, and this mix, which consists solely of exclusive material, shows that a whole new wave of European techno producers is on the same wavelength. The mixture of the musical and forceful is audible from the outset, with textured chords unfolding over an angular rhythm on Sascha Rydell's "Rainy Days", a few tracks later as Cosmin TRG does his best mid to late 90s Ian Pooley techno impersonation over a rolling, warm bass and midway through on Peter Van Hoesen's "Last One at 1080", where evocative but eerie pads build to the backdrop of a prowling groove. It's a stunning finish to a mix that effortlessly balances the hard and the soulful.

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: Clone stalwart Dexter maintains his sumptuous run of form this year with the Great Northern Driver EP. The title track's booming bass drum and chirruping sonic elements draw a line between vintage electro and modern UK bass ala Julio Bashmore. Those of you with inferior soundsystems can indulge in the less throbbing delights of the 'no bass' version. Although the world probably doesn't need another Amerie sampling track, Dexter's deep, dusty revision is probably the best we've heard - indeed we'd go as far as to say it's downright excellent. Finally, the droning low frequencies of "Bo-Dyned" round off an essential release.

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: Andy Graham aka Sei A has put out a series of impressive releases for Tiga's Turbo - and "Flux" is no exception. It sounds like Graham has been listening closely to the work of crossover techno/bass artists like Martyn, Shed and Cosmin TRG, as the title track is a raucous mixture of dense off-beats, squealing riffs and soaring, billowing chords. "Jus Appreciate" follows a similar trajectory, and its rolling rhythms are littered with insane vocal samples, while "Break the Pattern" is mellower, with dubby drums underscoring breathy filters and trippy acid lines. Martyn completes the package with a slamming, lurching take on the title track. Highly recommended.

Review: For an act that had only a few releases to its credit so far, Dadub sound strangely familiar. That's because the Italian duo behind the project, Daniele Antezza and Giovanni Conti, have been responsible for the mastering, production and engineering on the Stroboscopic Artefacts label. So even if their names don't have household status in techno, their work does, and they have played a huge role in contributing to the label's mixture of dub, broken beat and bassy techno. It is also worth noting that they have worked on the Dadub project for four years, and rather than rushing out music so as to gain recognition, they have taken their time to develop the project's output to a fully-formed level. Both of these factors, as well as their love of Lee 'Scratch' Perry, are audible on Moksha. Cavernous textures loom in the foreground on "Perseverance" and "Moksha", but instead of sounding like they are trapped 20,000 fathoms below sea level, the skittish off beats and wiry rhythms lend them some dance floor resonance. Despite this, it would be hard to find a peak-time club that would champion "Beyond the Veil" or "Temptation of Maya". Both evolve gradually and teasingly, with layer upon layer of sounds and textures flowing over twisted, mid-paced rhythms. Like a more reflective version of the Monad series, Way to Moksha is horizontal techno at its finest.

Review: The Monad series has aimed and largely succeeded in getting techno producers to explore their more esoteric side - and VIII is no exception. Indeed, any electronic music release that draws influence from a Nobel Prize-winning scientist - Ilya Prigogine, after whom "Ilya" is named - is unlikely to offer up run of the mill DJ fodder. The aforementioned "Ilya" sees Dadub set a tone that is both menacing and captivating as the solemnly intoned phrase "evolutionary feedback" prefaces a descent into walls of electronic noise and the dead paced thump of a ponderous bass drum. A similar mood prevails on "Hadean"; on this track vast swathes of feedback vie for the listener's attention, as Dadub's robust, dense broken beats sound like footsteps treading on crunchy, autumnal leaves. That doesn't mean that VII is entirely couched in furrowed-brow seriousness or that Dadub has somehow misread the brief. Like the preceding installments, this release works precisely because there is a plurality of approaches. The swirling, hazy ambience of "Biopoiesis" is an entirely different proposition, its creaky, spooky tones conjuring up memories of Tangerine Dream and Eno, while on "Amnion", Dadub finally lurches towards the dance floor. However, true to the series' form, straight techno beats only kick in after the producer has taken his audience through a forest of magical, swirling sound effects.

Review: Hemlock boss Untold surfaces on the evergreen Clone imprint with this absolutely blinding EP for their Basement Series. Much like Trago and Bok Bok collaborating, the sight of one of the UK's premier producers on one of our favourite Dutch label makes for exciting times. "Little Things Like That" is resolutely booming techno music, effortlessly stepping up the gears of dancefloor menace towards a subway sized juggernaut of rasping, finely sculpted pressure. Up next, "Bachelors Delight" merges the bassier excesses of Untold's background with a 4/4 flex, dipping the expertly syncopated drums in a sub bass swamp lifted from the harsher end of 2step. This is music that was made for the Basement Series and naturally gets a BIG TIP from us!

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: If you were to somehow find yourself being hunted deep within a Congolese jungle, Voidloss' One Breath Dispels The Limits Of Earth EP would soundtrack your escape from the heart of darkness. The footage attached to the "Diaphanous Fever Of Dreams" montage would be the preparation for battle - eyes blackened, red headband and camouflaged upper torso primed for a stealthy face off with an invisible enemy - if it bleeds we can kill it. Armed with only a USMC combat knife and commando senses, "Scar Glamour" plays to the flickering silhouettes that dance above. The Fifth Book" meanwhile soundtracks a ritualistic shadow game as you become one with the jungle and the tortured screams of your former team come in the form of "Rain Down On The Soul" before you extract bloody vengeance in an epic human vs predator showdown!

Review: Timeless rolling, melodic techno from1991 is treated to a series of respectful reshapes. Both the Nostalgia and Rod versions are hard sequencing, analogue jackers, like the grainy Djax output from the early 90s, with Rod's slammig take just about shading it in the quality stakes. At the other end of the spectrum, Orlando Voorn delivers a gloriously widescreen ambient workout, while Vince Watson's rumbing drums provide a basis for the kind of airy Detroit melodies that the Scottish producer is known for. Samuel Session stamps his mark on Session with a foreboding bassline, but it's Legowelt who deserves most praise as his fusion of warm, trippy synth and bleeding acidic basslines sound more seductive than ever.

Review: Dave Clarke's Dutch production partner proves why he's such an in-demand name. "Armory" is peak time techno, as hissing percussion and a building siren riff combine over a pumping backing. It sounds like "Armory" has taken its cue from 90s releases on Synewave, but then contemporary touches, like the sound of what could be a Lear jet in ascent, provide a reminder of its freshness. "Uniform" is also informed by 90s techno; its searing acid and metallic snare bursts sound inspired by old Ausgang releases, but then the screeching, splintered riffs bring the listener back to 2012. Ben Sims provides a pumping, loopy take on the title track, while Sunil Sharpe impresses with a splintered, industrial take.

Review: Best known as part of the uproarious live electronic act Chrome Hoof, Milo Smee is heralding the start of a new pseudonym, a new label and new musical direction with this release. Born out of a period of time he spent alone with a 303 and an 808, as you might expect the vibe is raw and acidic. "Corrosion Control" gets some incredibly nasty sounds out of one looping phrase in true strung-out, slowly tweaking form over a bleakly treated house rhythm. "Advanced Fuel" meanwhile snaps on a crisp electro beat, while the 303 still leads the way in the synth department. Nothing short of brilliant.

Review: Given Craig Richards has been musical director and resident at London institution Fabric since its inception, it seems surprising that he's only just gotten around to starting his own label. Named after his Fabric mix of the same name, The Nothing Special, its first release sees the debut material from Radionasty, the pairing of veterans Keith Tenniswood (aka Radioactive Man) and Billy Nasty. As you would expect from such a duo, the results are immense; the title track sees a bubbling acid line wrapped around jittering percussion, laid on top of a solid bass foundation with a reflective melody giving the track an added element of class. "Radio 2" meanwhile is the more ostensibly "big" track on the release; with a crunchy bass that is given fine contrast with some expansive 5am chords, they have enough grit to stop the track falling into the trap of cheesy big room cliche, and on the basis of this first release, both Radionasty and The Nothing Special have a bright future ahead.