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: 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: Formerly the label manager of Sisyphon, the sister imprint of Berlin club Sisyphos, it is fair to say that Rocko Garoni knows a thing or two about selecting tripped out techno. From the opening bars of his debut EP on Second State, it is clear that his knowledge has transferred to the production sphere. The title track is a pulsating affair, led by a detuned riff and tripped out vocals. Similarly, on "Phaseful", tripped out vocal samples are combined with a worth groove, while "Tragedy" sees him move to a more intense sound thanks to a pounding acid groove. Regal's tweaked, uptempo take on "Detection" rounds off this fine EP.
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: 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: The latest release on Pan-Pot's label is informed by some of the high points of minimal house and techno. The work of Wigbert, its title track draws on nocturnal Millsian textures and eerie blips, but re-imagines them over a driving, house groove. "Moving" resounds to pitch-bent vocals and bleak synth stabs, while on "Strange Feelings", the German DJ goes back to the 90s. Creaky riffs, deft snare rolls and a robotic, angular rhythm call to mind classic Hawtin and Dan Bell. "The Rail" also takes its influence from that period, as waves of hypnotic acid seep through the speakers. Closing out this exemplary release is the electronic, pulsating "Jam Mode".
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.
Flashes In Your Eyes (Developer remix) - (6:29) 129 BPM
So Far To Go (+plattform remix) - (5:16) 131 BPM
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: 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: 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: 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: 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".
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