Review: BEC returns to Second State with another hard-hitting but individualistic techno EP. The title track is based on a visceral, grinding rhythm that is powered by a metallic bass and features tortured wails. The sound of the human voice is also audible on "The Truth", but this time it's interwoven with dramatic rave stabs and powered by pounding kicks. "Reaching Nirvana" sees the Berlin-based artist push in a deeper direction, with chords flowing over a rolling tribal techno groove, while "Trusting The Mystery" is also more considered as BEC fuses haunting tones with a dense groove. Pan-Pot round off the release with a visceral take on the title track.
Review: Responsible for dance floor burners like "Der Sturm Kommt" and "Hoisin", Michael Klein was one of last year's most impressive artists on Second State. Based on his latest EP, that status is unlikely to change. The title track is a mean, lean acid track, with its central sawtooth riff and rolling snares designed for peak-time use. On "Joker Smile", he opts for a somewhat more subtle approach, with a rolling bass and insistent percussion underpinning grimy riffs that keep building and building. Klein remains in the same territory for "Sticky", where dense drums and rasping hi hats support ominous, hardcore-inspired riffs.
Review: Wigbert Franze returns to Second State to unleash his debut album. Striking a balance between tough club tracks and atmospheric sounds, at one end of the spectrum, it features utilitarian bangers like "Reflection", the screeching minimalism of "Night Vision" and the Robert Hood-like organ stabs of "Detuned". There's also a more cerebral dimension to Wigbert's dance floor work; both "Error 404" and "Automatic Loop" are esoteric bleep-laden workouts, while on the title track, he fuses rolling drum patterns with atmospheric pads. Distorted Matter also features the rolling electro of "Digital Mirroring" and ethereal sound scapes like "Drone Level" and "Uncertainty'.
Review: 2021 is shaping up to be a busy year for Par Grindvik; he has just released a collaboration with Pfirter and now he delivers this co-authored work with Sylvie Maziarz. Featuring four tracks, Before We Run is a peak-time affair: "Bullet Tower" features a hornet's nest of acid bleeps and wiry percussion unfolding over industrial strength kicks, while "Before We Run" is in a similar vein, with the pair dropping upfront kicks and infectious vocal snippet samples. On "Utopia", they go for a slightly less intense approach as tough tribal drums and snappy percussion provide the backdrop for chopped up vocals. Rounding off this fine club release is the deeper but driving "Circles", which centres on a grungy bass underpinning atmospheric swooshes.
Review: Like previous instalments, the ninth volume of SUM sees Second State showcasing both emerging producers and well-known artists. The layered, menacing chords of Allan Feytor's "Portal" and Ferhat Albayrak & Kuvoka's dense but tripped out tribal groove on "Tobe Alloys" show that when it comes to identifying new talent, few imprints do it better than Pan-Pot's label. While SUM 9 also includes high-profile producers like Jay Lumen, who delivers the pounding kicks and throbbing bass of "Dust", the most impressive contributions come newer artists and the slamming ghetto techno of Frankyeffe's "Root" and Samanta's "Hello" really stand out.
Think People (Michael Klein remix) - (7:47) 133 BPM
Review: DJ and production duo outta Belgium Joyhauser arrive on Pan Pot's Second State label following releases in 2020 from Shlomi Aber, Reform and Pan-Pot themselves. Joyhauser's debut on the label presents a slamming arrival with its three tracks looking to hardcore and rave as much as it does warehouses and techno. Go-to track is the deep synth pulse and dubby groove of "Molly" next to "Think People" which looks to a harder, gnarlier and more industrial sound. This is given a remix by fellow Second State act Michael Klien who tones down the heaviness of the original's drums and focuses on the track's ravey synths while keeping it frenetic as f***.
Review: Having released on labels like Minus and Elevate, Jspr aka Jasper de Vries now debuts on Pan-Pot's imprint. The title track is a peak time affair: based on pounding kicks and a grinding rhythm, it sees de Vries deliver layer upon layer of searing filters to create a maximum impact. "Parasite", follows in a similar vein, with a focus on a steely industrial rhythm and razor-sharp percussion, while intensity levels reach their peak on "Fire"; led by the kind of doubled-up drums and shrill sirens that the Space Djz were known for, it's an ominous, impactful affair. The one counterpoint to the overall approach is "Blossom", with de Vries using a rolling tribal groove as a backdrop for atmospheric synth builds.
Review: Bleur and MB1 have been friends for years, so it was logical that they would started to produce together. The first fruits of their studio collaboration featured on a recent Second State compilation, and now the label has given them the platform to release a solo EP. "Shock" is a rolling, looped techno affair in the mould of early Marco Carola releases, while on the title track the duo up the tempo and add to the intensity levels with a menacing bass and waves of insistent snare rolls. Rounding off the release is "NL Industry", where this fast-rising pair drop a peak time tribal track shot through by insistent bleeps and shifting tones.
Review: Pan-Pot return to their Second State label for the first release this year. "Planet 9" is a huge big room affair, with tranced out synths unravelling over a pounding rhythm. However, the rest of the release is remarkable in that it sees the pair depart from their trademark sound. The title track is dance floor focused, but it's led by mournful melodies and a rickety rhythm that's not Pan-Pot's typical style. More notable however is "Echoes From Epsilon", where the label owners depart from the club environment to deliver an atmospheric, synth-laden track that's tailored for home listening.
Review: Reform debuted on Second State in 2018 with Former, and now the pair return to the label with four more dance floor burners. Close Encounters shows that they have a diverse approach: The title track sees them deploy funky breakbeats and a bass that has more in common with 2-step than techno, with these elements acting as the basis for a dreamy female vocal sample. In contrast, "Stance" resounds to atmospheric synths and steel-piston percussion, elements that tingle with Detroit-style futurism. "Mind Control" marks another shift as the Italian duo ride a tranced out groove, while they toughen up their sound on the rough kicks and belching acid of "Horse Riding".
Review: It's a match made in big room techno heaven as Second State owners Pan-Pot put out three remixes of Motion Unit's "My Mind" techno banger, which was originally released in the late 90s on Oliver Huntemann's Confused label. The 'Radar' version revolves around a high-paced rhythm and features rolling snares and warbling acid lines, while on the 'Future' interpretation, a menacing bass and funky break beats underpin those distinctive 303s. On the third, 'Galactica' remix, Pan-Pot combine breaks and an ominous low end with ponderous vocals, making for a moody but distinctive track that will cross over between techno and electro audiences.
Review: Following on from his Hyper X release on Be As One, Shlomi Aber drops a storming EP for Pan Pot's label. The title track is a moody affair, resounding to apocalyptic rave synths that are propelled to dizzying crescendos by a firing rhythm and percussive bursts. On "Nuclear", the Israeli producer draws on Jeff Mills to create a dramatic, string-led techno track, with firing percussion and tough kicks underpinning this musical element. Changing tact, Aber delivers "Brikz", where subtle break beats underpin a tapestry of bugged out sounds. Rounding off the release is Pan-Pot's take on "Nuclear", where the tempo increases and a rolling rhythm prevails.
Review: Risa Taniguchi is a talented artist who can play multiple instruments and whose background lies in classical music as much as it does in the relentless techno of clubs that she spins at Womb in her hometown, Tokyo. For this release, she puts the focus on techno: "How We Dance Again" is a storming affair full of early UR-style rave stabs, while "Slipped My Mind" is deeper and more tripped out, as repetitive vocal loops are underpinned by a linear rhythm. "Sodium" sees her drop eerie piano keys against a rolling tribal groove, while "Unchained" concludes the release with pounding kicks and a throbbing bass.
Review: The latest edition of the the Sum compilation series features a mixture of established and upcoming producers. First up are The Reason Y and T?mas Sinn, who deliver the tough, reverberating groove of "Trip Tales". Meanwhile another emerging act, Risa Taniguchi, impresses with the deep, tunnelling techno of "She" and Eme Kulhnek drops the mesmerising, hypnotic groove of "Efforts". Mindful of electronic music's rich heritage, Second State has also commissioned some of Europe's most established artists to contribute to this edition; Quenum drops the clicky minimalism of "Fact Action" and on "Zurich" the veteran producer Secret Cinema, combines gritty drums with atmospherics to devastating effect.
Review: Coming at us from different countries but with the same musical perspective, K.A.L.I.L. and Cam Harris deliver a storming EP for Second State. The title track resounds to rolling snares, a steely rhythm and ominous chord stabs. it sounds like a leaner, more metallic take on the big room electro-techno that acts like Zombie Nation pioneered. Meanwhile, "Disorder" resounds to a pulsating groove that provides the backdrop for a ponderous male vocal intoning the track's title. Supported by eerie synths and arcing acid lines, its builds and builds to a wild climax. Second State regular Rocko Garoni rounds off the release with a firing, percussive take on "Order".
Review: The title of Michael Klein's latest release for Second State is 'the storm is coming', but it will have you running for the dance floor rather than for shelter. This is largely down to Klein's dynamic approach to club techno; the title track resounds to a cacophony of rolling snares, wild rave siren riffs and a robotic vocal intoning the title in German. The sound is just as thrilling on "Wasser", with Klein unleashing the kind of grainy bass that resembles that great techno-trance producer Zombie Nation, while on "Wenn Du Schreist", Klein takes the listener down a dark, rave-fuelled direction.
Review: Garoni follows last year's Phobia release on Second State with another highly distinctive EP. Combining grungy undercurrents with vocal samples and tough dance floor rhythms, the release starts off with the title track's pounding drums and ominous chord builds, before he ups the pace with the sleek "No Border". On "Gece", the approach is somewhat different with Garoni favouring a more linear, streamlined rhythm that supports menacing synth lines and a lone, robotic vocal.
"It's All Yours", which features Cook Strummer, sees Garoni at his most punk-ish, as androgynous vocals unravel over a gritty rhythm track, while "Hello" is all melodic synth rushes.
Review: DEAS returns to Second State for his fourth release, with Index demonstrating why he is rated so highly. The title track is a bleepy techno affair that resounds to a hypnotic, pulsating rhythm and doubled-up claps, with echoes of 90s producers like Vapourspace. On "Apart", DEAS ups the tempo to deliver a menacing, tranced out banger, while he opts for another approach on the title track. Focusing on a propulsive, percussive rhythm, its rolling snares and doubled-up claps call to mind classic Plastikman. Richie Hawtin's influence can also be heard on "DRMS", but this time it's the acrid acid of the FUSE project, which DEAS melds with steely percussion.
Review: With a hot run of records this year coming from Pan-Pot, Amelie Lens and Industrialyzer alone, Second State Audio closes out 2019 with a compilation taking in tracks from label regulars and newcomers, with highlights coming from Secret Cinema, Gary Beck and Carlo Lio. The latter hooks up with John Rundell with a techy number of warehouse beats and neon synths in "Parallax", while Beck turns in a booming slab of vocal dub techno with "Rapture". Raffaele Rizzi supplies some darker synth and rave inspirations in "Fluorescence" with more '90s influnces abound in Hyperloop's "A Journey". For something more industrial and militant there's JNO & Giovanni Carozza' "Crispy" with Sara Simonit delivering some classy streamlined techno in "13 Guns". Chk chk.
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: 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: 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: Hot on the heels of last year's Detection release for Second State, Rocko Garoni delivers an unforgettable follow-up. "Phobia" combines a haunting vocal that intones the track's title, coupled with blessed out melodies and an insistent, pulsating bass. It's a refreshing take on 90s deep techno, albeit with a modern touch. By contrast, "Unify" is a grinding, metallic rhythm, underpinned by a rumbling, buzzing bass, while "Mbf" is just as tough, revolving around rickety percussion, dramatic stabs and a menacing low end. Bringing Garoni's second outing on Second State to an acid-soaked climax is Marco Bailey, who turns "Mbf" into a 303-led banger.
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: The sixth volume in the SUM series sees Second State pair up tough tracks with some deeper productions. It starts in high-octane form with the tough tech-house of VNTM & Tahko's "Rave Culture" and Risa Taniguchi's "Ridiculous", while Industrialyzer steers the compilation down a darker techno path with the pumping "Pulse". Counteracting these heavy elements are contributions from Nick Curly, who drops the pulsating deep house of "Refuge" and the heads-down tracky groove and pitch-bent vocals of Flug's "Maschine". The compilation also features a summer anthem in waiting - the epic synths and trance-inspired builds and drops of "Relief" by JNO.
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: 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: 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: 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: Smilla aka Sascha M?ller teams up with Berlin veteran Oliver Deutschmann to deliver this tough techno release as S.M.O.D. on Pan-Pot's label. "Drop Everything" starts the release in rolling tribal mode, with a pitched-down vocal fused with coruscating metallic riffs. Boasting an industrial undercurrent, it sets the tone for the rest of the EP. On "GTTMOVD", the pair explore a similar approach, albeit this time with an acid undercurrent featuring in the arrangement. "Running Man" is more stripped back and metallic, as the duo dispense with the tribal approach, but they deploy this sound as the back drop for the existential texts and acid-tinged nuances on "State".
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: The Reason Y follow their 2015 EP on Second State with this dance floor-focused techno release. "Amplify" starts the EP in raucous form with heavy kicks, wild acid climaxes and pitch-bent vocals. On the title track, the Berlin duo go for a somewhat deeper approach, but there remains a scuffled undercurrent, with the drums and percussion giving off a scuffled metallic feeling. "Beautiful Bounce" is a moody affair, as the nightmare-style ghoulish synths wrap themselves around a rolling rhythm. Meanwhile, the pair opts for a stripped back, looped approach for the belligerent roller "Without A Trace". Rounding off the release is a fine pumping version of the title track by Joel Mull.
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: 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.