Review: If this is what arrives in Tresor's inbox, then they are luckier than most labels. With a focus on tough techno, Demo Tracks 2 showcases some fine new talent. Acronym's "Nabu" is a dark rolling affair, its detailed textures creating a hypnotic cavernous sound. JC's "Chenox" is more direct, with rough, distorted drums fused with a slamming, grainy rhythm primed for the peak time. Neither can compare to Zadig's "Panic". The tempo is far higher, the rhythm more stripped back and visceral, and the arrangement filled with the kind of ferocious percussive bursts that would singe your hair if you stood too close to the speakers.
Review: Borderland sees the illustrious Juan Atkins & Moritz von Oswald join forces for an album of meditative techno for Tresor. The partnership marks the first time Juan Atkins and Moritz von Oswald have directly collaborated in 20 years, though both have regularly assisted each other's work behind the scenes. Von Oswald played an important role in engineering much of Model 500's R&S catalogue, while Atkins supplied his mixing craft and two edits on Thomas Fehlmann & Moritz von Oswald's early '90s project 3MB. This eponymously titled album is skewed toward club-orientated electronic music blessed with a freedom for organic musical experimentation and expect to sink into a soundscape where melodic and textural motifs float in and out of focus.
Review: One of the residents at famed Berlin club Trevor serves up a fine EP for its label. With releases on Singular, Anderson shows that she is really coming of age as a producer. Those sets at Tresor have clearly paid dividends, and both "Structure" and "Involvement" are low-slung tribal rollers, powered by electronic bass and searing percussion. "H-1 A.p." provides some respite thanks to Anderson's use of frazzled ambience, but it's only a temporary break; straight afterwards, the title track sees her dive back onto the dance floor with a dense, filtered workout before "Momentum" further solidifies her reputation as a creative artist thanks to its low-tempo, ebm prowling groove.
Review: Existenz is Dave Sumner's third artist album as Function, and it partly ushers in a change in style. While there are echoes of his typical brooding, hypnotic techno on the mysterious, acid-tinged "Nylon Mood" and the heads-down roller, "Golden Dawn" - which features Stefanie Parnow - much of the album comprises a more mellow mood. There's the wonderfully hypnotic 90s ambient of "The Approach" and "Sagittarius A (Right Ascension)", while Function hooks up with vocalist Robert Owens to do deep house on the layered, textured "Growth Cycle". It's without doubt Function's most diverse long player, and ranges from the rickety electro of "Pleasure Discipline" to the dub shanty of "Interdimensional Interference".
Review: The godfather of Detroit techno Juan Atkins has released under the alias Infiniti since 1993, on defining imprints such as Tresor, Hyperspace and his own Metroplex operation. However it is his full length opus from 1998 named Skynet which is the most storied release of all. From the hypnotic title track and its energetic polyrhythms that reach near tribal moments, his trademark soulful techno sound as heard on walking on water, equally idiosyncratic sounds as heard on the minimal electro of "Electric Circus" and unadulterated hi-tech soul on "Subterrania" this is one right classic
Review: It certainly piques anyone's interest when British techno legend James Ruskin releases new material. With an immaculately curated output over the last 20 years, this new addition to an extensive catalogue of works - on established institution Tresor no less - is testament to such. The Siklikal EP demonstrates four careful executions in pure form techno by a true veteran who knows what works on the dancefloor. From the broken body bashing industrial menace of "Nepte", to the hypnotic tunnel vision of "Kn Te 3" and the seething downbeat EBM mutation of "Kn Am 3" - what a way for Tresor to celebrate 25 years in the business with this fine release.
Review: Detroit godfather Juan Atkins and Berlin techno legend Moritz Von Oswald return as Borderland, one of several collaborations since 1992 and following up their 2016 album for Tresor: the Transport album which again consolidated both respective artist's solid studio experience, honed over the last 30 years. The funky, slightly bumpin' and absolutely addictive hi-tech soul of "Concave 1" will have you grooving away on a late night dancefloor in Berlin or beyond with its evocative and life affirming vibes. "Concave 2" further explores their studio refined sequences on this heady and hypnotic journey full of woozy arpeggios, steely rhythms and dubby bass frequencies.
Review: As the excellent Kern series from Tresor hits its second installment via DJ Hell, so the welcome vinyl sampler drops with some rare gems lovingly reissued for a fresh set of ears. Jonas Kopp's "X" sounds as taut and deadly as ever, displaying the true meaning of minimalism across a barren soundscape, while Capracara's utterly sexy acid house jam "Flashback '86" shows just how erotic a 303 bassline can be. Old classic "Bliss" by Halogen gets a modern revamp from DJ Hell himself, creating a functional thud with ample tripped-out techno elements present in fine slithers for an elegant finish.
Review: London based Manni Dee returns after some full-on explorations in extremity, for the likes of Perc Trax, Layla and Emetic with this brand new killer for the esteemed Tresor. The production of The Residue EP was inspired by his home city, the British capital and its general living conditions. Topics such as social cleansing, inequality and the general political situation and how this in turn 'informs internal and external locus of control'. From the abrasive factory floor assault of "Subterranean Choke", the repulsive dark ambient of "At The Mercy Of The Muse" and its uneasy narrative, or the blistering title track with its pounding industrial rhythms and textural noise - all reaching straight for the jugular!
Review: Marcelus has enjoyed a long and productive relationship with techno institution Tresor over the past six years, issuing a series of EPs and his debut album on the label. For his first release of 2018, the French artist makes a sideways shift. The title track is an organic-sounding affair, revolving around loose drums and intricate percussive twists and turns. Most notably, it eschews a direct dance floor approach. On "Parenthesis", the French producer goes deeper, with layered textures unfolding over a languid groove, while on "Descent" a watery, minimal sound prevails. It's not all subtle sounds however, and "Say It Again" is an uptempo, rattling workout, which is sure to keep Tresor's core constituents very happy.
Review: France's reputation for underground techno is on the rise and this new album from Marcelus won't do it any harm. The Parisian producer has already a string of acclaimed releases on Tresor and Deeply Rooted House, and Vibrations showcases his ability to craft killer, purist grooves. "Forplay" and "Steel Drums (Take 2)" are heads down, tribal rollers that will cause chaos on the dance floor, while "Transient" is a dense, drum track that takes its cues from the Lost / Cosmic strain of 90s techno. On "Multiply", Marcelus flirts with the legacy of Sativa and Dave Tarrida to create an unpredictable, sprawling groove. In between these pillars of functionality and wild abstraction Marcelus also delivers the introspective "Initial Sense" and the loose house groove of "Funky Datas". It's one of the bravest techno works of 2016.
Review: It's been another explosive year for Buffalo veteran Parker with key releases firing from Repitch, Spazio, Inkblots and Edit Select this year already. Now, after over 20 years in the game, he makes his debut on the mighty Tresor with four more highly mixable and creative reasons why he's maintained his respected status; "Disintegrating Sand" rolls and folds the kicks and rhythmic vapour traces with a Plastik edge while "Angels In Cages" fluctuates with a mind-warping trippiness, "Gyroscopic Precession" twists the lasers with a visceral physicality and "Meteor Crater" warps with hypnotic insistency. Lean elements, mean messages - Parker makes music you can help but get lost inside of.
Review: Minimal Violence kick start a three-record series for Tresor called DESTROY ---> [physical] REALITY [psychic] <--- TRUST, which is due to be released over the course of the next 12 months. This first instalment sees Ash Luk and Lida P draw on a myriad of influences: in its original version "Ravebomb" features epic, trance hooks, followed by the high-speed break beats and searing bass of the 'Fire' version. On "Perfect Rendition", the duo slow down the pace to deliver the kind of cut-up breaks meets old school sampling collage that could easily pass for vintage Meat Beat Manifesto, while this first volume concludes with "The Next Screen Is Death", where the duo deliver more breaks, but this time playing out with epic strings.