Review: Amelie Lens' first break through releases were on Second State, and now she returns to Pan-Pot's label. As befits one of the world's most popular techno artists, this is a heads-down release designed for big room usage. The title track resounds to rough rave stabs and vocal snatches that are played out over a tough, driving rhythm, while on "Access", she opts for an even more streamlined approach; the central rhythm is sleek and relentless, while subtle filters and a dystopian electronic riff guide the arrangement to a heady climax. Joyhauser's version of "Hypnotized" is more epic thanks to its atmospheric, filtered synths, and completes this excellent peak-time package.
Review: Following on from her EP earlier this year on Second State Audio, BEC is back with a killer follow up on Pan-Pot's label. The title track revolves around a rolling, skipping rhythm that provides the basis for repetitive vocal snatches and insistent chord stabs. It sounds fresh and unusual, like minimal house's precise sounds getting it on with the sub-frequency power of UK bass. "Tempest" also follows a similar path. It features a wailing synth riff and waves of percussion build over metallic kicks and filtered white noise. It's hard to put a handle on what type of music that BEC is making - and that's what makes it so exciting.
Review: BEC returns to Second State after last year's Law Of Attraction with another solid dance floor techno EP. The title track and "Synchronicity" are solid, linear workouts that resound to dense, rolling drums, repetitive vocal loops and deft, filtered builds. "Are You Looking" is more uptempo and centres on detuned, noisy riffs and firing, layered percussion, while on "Play Drum", she goes down a techno wormhole, characterised by shimmering synths and evocative filters. Pan-Pot's label has also commissioned a remix of the title track from Dutch veteran 2000 & One, who doesn't disappoint with a version that features pitch-bent vocals and wild acid licks.
Review: Bec follows his 2018 release, No Regrets, on Second State with this firing techno release. The title track gets the EP off to a flying start with its rolling snares, repetitive vocal sample and deadly effective drops. Unravelling over tough kicks, it sounds like a souped-up, modern version of Plastikman. "Flux" is based on a similar arrangement, with the percussive groove underpinning rasping electronic riffs, while on "State of Flow" Bec conjures up evocative melodies against a similarly jagged percussive back drop. Last but not least is the stripped back stomp of "Holocene", which sees him pay homage to 90s analogue techno.
Review: Deas aka Karol Mozgawa follows his Velocity release from earlier this year on Second State with another killer EP. "Second Signal" sees the fast-rising new producer fuse a jacking Chicago rhythm with snare rolls and rave whistles. Meanwhile on "Face to Face", he moves up the intensity levels, as firing hi hats and grimy acid lines create a visceral feeling. However, the most impressive track on this release is "Red Source" itself. Featuring Sleeparchive-style tonal bleeps, ominous vocal samples and a tight backing rhythm, it marks out this young Greek producer as a new force in underground techno.
Review: Ricardo Rodrigues aka Industrialyzer delivers another hard-edged release for Pan-Pot's label. Inspired by 90s techno, it sees Rodrigues move from the Green Velvet-style deranged jack on the title track into the Plastikman-influenced "Kontrol", where snares roll in unison over a skeletal, niggling rhythm. On "Daily Nova", he ups the pace to deliver a tone-shifting banger that's powered by doubled-up claps and a lean rhythm, while "Psychic Overlays" is the toughest arrangement on offer here. Led by grubby kicks and hi-hats so sharp they'll pierce your skin, its cascading filters make it a relentless peak-time affair.
Review: Industrialyzer aka Ricardo Rodrigues is one of techno's unsung heroes. A frequent collaborator with other Portuguese artists like The Advent and A.Paul, this release sees him fly solo for Pan-Pot's label. It's a fine hard-edged EP, and somewhat tougher in tone than Second State's usual approach. The title track resounds to rolling snares and metallic stabs, as Rodrigues delivers wave upon wave of electronic filters. "Live Sugar" is less abrasive and comparatively understated compared to the usual Industrialyzer sound. That said, its insistent bass and doubled up claps guarantee that it will become a staple for more discerning techno DJs.
Review: Having featured previously on a Second State compilation, JNO now delivers his first EP for the label. The title track is a firing, percussive workout, featuring a pitched-down vocal loop a la DBX and a grinding backing riff. It makes for a propulsive, effective workout. On "Another Day", JNO ups the pace and again deploys a moody vocal - but this time it's used in association with a relentless sawtooth riff. "Psychosocial" hits the 140bpm mark and is redolent of Thomas Brinkmann-style techno-trance - not least thanks to its snare roll crescendos and murderous kicks - while "No Equivalence" sees a drop in pace for a more measured percussive workout.
Review: The latest release on Pan-Pot's label comes from upcoming Russian DJ/producer Julia Govor. Working with TMZ, she delivers a three-tracker that jumps across genres and styles. "1" is a tripped out stepper, with bugged out bleeps and haunting noises unfolding over robust drums. On "Plus Two", the pair opts for a straighter approach, as a tracky rhythm supports wild analogue bleeps and dubbed out claps. The best is left till last though; "Equals Tree" is the most understated track, but its combination of lithe, rolling break beats and airy melodies show that Govor has a depth of sound that may not have previously been apparent.
Review: Having appeared previously on one of its compilations, Michael Korb aka Klangkuenstler releases his full debut EP for Second State. "Dunkle Illusion" proves that the spirit of hardcore is very much alive in modern techno; "Razor" resounds to scary horror riffs as a cyber-punk groove and menacing bass plough their way through the foreground. Even more menacing is the title track, where Korb filters an ominous synth loop that breaks and builds over a pounding, acid-soaked rhythm. The Alignment remix of "Dunkle Illusion" is even more intense, as peak-time hardcore drums provide the basis for insane acid squelches.
Review: Following Midfield, a split release with Roberto Capuano back in 2017, Luigi Madonna makes his solo debut on Second State. "Enfant Terrible" is a banging, acid-heavy affair that resounds to crashing percussion and the kind of searing 303 riffs that Emmanuel Top used to have a monopoly on. In contrast, "Chaudfontaine" is more restrained; it sees the Italian artist deploy hollowed out drums and skipping hi hats, providing a different back drop against which he lays down bubbling acid lines. Label owners Pan-Pot also drop two killer remixes; their take on the title track bristles with ominous chords, while their interpretation of "Chaudfontaine" is a bleep-heavy, tripped out affair.
Review: They must put something in the water in Naples. The Italian city was home to Marco Carola's drum-heavy techno during the 90s. Now two artists from a new generation of techno producers, Luigi Madonna and Roberto Capuano, impress with an EP on Pan-Pot's label. On this release, it's not hard to hear a connection between the classic Naples sound and the modern day. "Wendy" features a loop vocal stab, but it resounds to a rolling groove on the verge of distortion, while on "Dark Soul", rickety percussion supports a series of dark drops and builds. Rounding off this excellent Neapolitan delight is the title track, which revolves around a phased hardcore sample and a clanging rhythm.
Review: Pan Pot's Second State label has been firing on all guns lately, and they maintain their high-quality focus with this new release. A collaboration between German veteran Martin Eyerer and newcomer Ackermann, it favours an utterly modern approach. The title track sees the pair lay down a pitch-bent vocal over razor sharp percussion and churning chords. It sounds like late to mid-90s, pre-micro house Force Inc, albeit benefiting from a slick, contemporary production touch. On "Inside", a similar approach prevails; again, the pair choose a combination of tight percussion and enveloping chords, but this time the vocal sample is looped and filtered until it sounds like it was derived from an old UK hardcore record.
Review: Michael Klein delivers his second release for Pan Pot's label, presenting a mixture of old influences and modern day rhythms. "Silver" sounds like an update of classic Lil Louis house thanks to its insistent bass and jaunty rhythm. "Opaque" meanwhile is based on contemporary, boxy beats and frosty synths, while "Outer Shell" is deeper and darker than the previous tracks, as Klein delves deep into austere, tranced out techno. The release changes with "Dura 2", a slower, beatsy affair with A Ghost's ponderous vocals, but it's only a temporary divergence and soon enough it shifts back to the dance floor courtesy of Roman Lindau's stepping take on "Dura 2".
Review: Michael Klein continues his impressive run of releases on Second State Audio, this time with a remix package from some top-flight producers. Dubfire turns "Dismantled Structure" into a rolling, dubbed out workout, led by hypnotic chords and a hollowed out groove. Meanwhile on his version of "Dirty Daddy", Markus Suckut opts for a heavier approach, with pounding kicks and rickety percussion leading into a cavernous break down. Developer has also been tapped for a remix, and his take on "Flashes In Your Eyes" is led by lithe drums and a searing acid line. Last but by no means least is the +plattform take on "So Far To Go", which plumbs the depths of weirded out acid, and aligns it with shuffling metallic drums.
Review: After a series of EPs for Second State, Michael Klein drops his debut album. While "Boot Sequence" is a measured, break beat affair, Snapshot is really all about Klein's dance floor prowess. It moves from the deep, spaced out house of "Dismantled Structure" into the banging, acid-heavy salvo that is "Flashes in Your Eyes", "100" and "Them Psychos". The German producer resurrects the spirit of rave on "Dirty Daddy" and the wild "Wall Licker". He follows this with a minimal approach on "Drink Those", a steely, stripped back affair that demonstrates his clever use of musical history to shape the future.
Review: The latest release on Pan-Pot's own label sees the pair take a few steps forward without losing their own distinctive sound. The title track bleeds warm acid lines, while the German pair conjures up a minimal house backdrop. They hook up with Martin Eyerer for "Consequence", where they update the sound of classic Dan Bell, as pitch-bent vocals vie with a busy techno rhythm for the listener's attention. "Lose Yourself" marks another shift in style; this time dark, trancey synths and foreboding tones conjure up a more malign take on Pan-Pot's sound. Berghain resident Marcel Fengler rounds off the release, delivering a loopy, tracky take on "Lose Yourself".
Review: For their latest release, Pan-Pot have commissioned some of the biggest names in techno to rework their Weltlinie release from earlier this year. In its original format, the EP moved from the dreamy, driving title track and the menacing tribal techno of "Startphase" into the rattling rhythms of "Exzentrisch" and the rave-friendly builds of "Zeit". In Gregor Tresher's hands, the title track turns into a surprisingly understated house groove, while by contrast Gary Beck re-imagines "Startphase" as a pounding, peak time techno beast. Shlomi Aber's version of "Exzentrisch" is more nuanced than the original, thanks mainly to its skeletal groove, while Deas strips "Zeit" down and creates a pounding, loopy workout.
Review: Ten years ago, Pan-Pot's "Confronted" appeared on Anja Schneider's Mobilee label and in recognition of this milestone, they are issuing remixes on their own imprint. Pan-Pot's own interpretations are inspired; the 'Basement' remix is a superb peak-time affair with the spooky vocal narrative about the girl with red hair playing out over thumping kicks. By contrast, their 'Paradise' remix is far deeper and more atmospheric. Anfisa Letyagos' 'Stranger' version steers "Confronted" back towards the dance floor with a pulsating, electronic groove, while the Frazi.er Raw and Farrago interpretations revert to a peak-time approach, with the latter adding a snatch of tranced-out bliss.
Review: Pan-Pot have been focused heavily on promoting other artists on their label, so Weltlinie is a welcome release from Second State's owners. The title track is a high-paced tribal affair, with a rolling rhythm underpinning shimmering synth lines and dank chords, while a similar approach is audible on the skipping percussion and shuffling drums of "Exzentrisch". Both tracks show that when it comes to funky techno, few artists do it better. By contrast, both "Zeit" and "Startphase" are heavier: the oppressive bass on the latter is so powerful that it will make the listener gasp for air, while its break down exudes pure menace. The former is a bleak, modern take on 90s trance - providing proof that Pan-Pot need to release music more frequently.
Review: Label owners Pan-Pot are back behind the controls for the latest Sec-ond State release. The title track is a pounding slab of techno that re-sounds to a brutal bass, wild rave stabs and a relentless, pumping rhythm. On "Deutsche Welle", the pair continue their exploration of un-derground techno with a hammering groove that underpins tranced out melodies and a belching bass. Most impressive of all however is "Kanal 7"; with echoes of artists like Mike Parker or the Sandwell District collec-tive, its tunnelling, pulsating rhythm and eerie, sub-sonic tones, mark it out as the duo's best work to date.
Review: The latest release from Pan-Pot is far removed from the pair's minimal house roots. "Spitzer" is a hypnotic, deep techno affair that revolves around pumping kicks and glorious electronic hooks. On the title track, Pan-Pot opt for an even more uncompromising approach; centred on a chilling, predatory bass and pounding drums, it sounds like a contemporary, peak time take on Detroit producer Suburban Knight's stealthy sub-bass sound. Petter B, best known for his work on Bond and Drumcode, supplies a remix of "Spitzer", and this version is markedly different, with a more direct rhythm supporting chilling strings.