Yan Cook – Noisey Neighbours (Original Mix) [TECHNO]

Yan Cook – Noisey Neighbours

My fellow Aussie mate upon having a sterling, energetic night out would often state that he’s feeling ‘cooked.’ Ironically, the chap being reviewed here runs a label called Cooked Records. And it’s probably because listening to any of his famed, finely-tuned Built-for-Berghain bangers leave punters feeling the same way my mate felt. Ukrainian Yan Cook delivers yet another belter with this fine release on Scottish techno legend Slam’s Soma Records. A 2018 release, ‘Noisy Neighbours’ certainly lives up to its name. Extending his production line to labels such as ARTS & Delsin, the man is just as adapt at slower cuts like ‘Plot‘ or his remix of Heiko Laux’s ‘Neutron’. This packs so much dynamite it’ll break the resolve of even the most rigid slouches on the dancefloor.


Paul Ritch is a chief deliverer of such epic locked grooves, and this sounds reminiscent of his track ‘Pacemaker‘. A venomous Bass that’s focused yet slinky, it hovers in and out like a tunnel bore. The way it bounces back and forth just before the fourth bar makes it feel like the track is bounding forward. Raudive’s remix of Chrom’s ‘Cygnet Glacé’ is another proponent of such crafty tricks. Where Ritch used a skeletal approach, this is merely a foundation in the building. Rattling sonar soundscapes pulse, flexing the cerebral in the same way as Function’s ‘Disaffected‘ brings about that hurtling-through-space feeling. Eery recordings of evil alien like noises skirt across from left to right, adding atmosphere to a dystopian world that bathes in distant background sirens. Flickering hats come in and out before a sequence of modulated late 90s style hard trance stabs complete the picture. Continue reading

Maetrik – The Reason (Original Mix) [TECHNO]

Maetrik - The Reason (Original Mix) The alias of Maceo Plex that demonstrated the US DJ's ability to dwell into darker tech-house, techno tinges, this banger carries heavy bass production.

Maetrik – The Reason

With the advent of the internet, designated streaming services such as Boiler Room & Be.At TV have allowed limited amounts of FOMO to take place for those who couldn’t make the party. DJ Mag, Mixmag, and Resident Advisor have even jumped in on the act and ramped up their hold on the wall streams. Rarely do DJs get the chance to record live, nor purely of their own tracks. And it is hard to think of this ever taking place at a Cocoon Ibiza party. Eric Estornel, the American DJ more commonly known as Maceo Plex, Maetrik and Mariel Ito bucked this trend. In 2012, his Live at Cocoon Ibiza Mix CD did just this. ‘The Reason’, also released on Cocoon hits just after the crescendo of the mid point of the mix. Placed perfectly, it’s a belter ensuring serious dancefloor vehemence.


The track starts off with a low end synth stab lightly throbbing as though it’s a malfunctioned alarm of a spaceship. Panned, but slowed hats sit alongside groaning of shapeshifting mechanical clamour. Strenuous sub-bass, akin to a hydraulic breaker give the track serious poundage. Bells, which more sound like Notre Dame Church bells are struck hard. With the force of a MBL player hitting a home run it’s sequenced to help balance that nasty low end. Like on 2017’s smash ‘Ninex 7-C‘, Estornel displays exquisite, pulsating modulations. Grumbling and gurning, this heavy mid range has serious piercing venom. At it’s peak it shrills reverberates with so much power so much you get a cardio vascular workout just by listening. Maetrik loves a mutated vocal just like on ‘Herb House‘ or ‘Crush On Me‘. Amongst other ‘Reasons’ this one says ‘You’re the reason I can’t breath’, anybody listening live probably would be saying this back to Estornel. Supporting interstellar noises are paraded around to help this track stick to its extraterrestrial blueprint. Continue reading

Luca Maniaci – Nebula (Vincent Hole Remix) [TECHNO]

Luca Maniaci - Nebula (Vincent Hole Remix) [Techno] Mind Games Recordings release is a thumping, atmospheric techno that would be adored by techno DJs such as Ben Klock, Sam Paganini and Joseph Capriati. As the track title suggests, its synths and bassline will take you to the outer space.
Luca Maniaci – Nebula (Vincent Hole Remix)

Nebulas are a reason why one could believe in God. Heavenly in aesthetic, the grandeur sweeping designs make one ponder whether there truly is a master creator beyond this. Delicate but all consuming on the outside, look further in and there’s much more that meets the eye. And that’s exactly what you get on Vincent Hole’s interpretation of this track. Released in 2017 on Luca Maniaci’s EP of the same name by Mind Games Recordings, it’s a bass driven belter. What makes it peerless however is the bleepy melody levitating over the top. A track that would’ve been a great addition to this titanic Sonar 2018 DJ Nobu B2B Ben Klock set.


There’s a time and place for everything. This cut’s time and place is reserved for the most exuberant peaktime only. It pummels in at a fathomable 131bpm like a raging bull on speed. Herculean bass attacks your ears on a double time beat. Instantly propelling the dancer into a rigidly locked groove. Just as a Nebula is chock full of dust, gas and other spectral substances, this track is full of Hats. The way the 3 intersect, all sounding distinctly different yet choreographed in unison, is remarkable. Continue reading

Billy Turner – Doomsday (Original Mix) [TECHNO]

Billy Turner - Doomsday (Original Mix) [TECHNO] Dense & Pika’s Kneaded Pains label release offers destructive techno.
Billy Turner – Doomsday

British producer Billy Turner’s recent release Don’t Talk To Me About Style EP on Drumcode has been been flying off the shelves. The jittery, sticky humming baselines reign supreme in this brisk affair. Nonetheless, ‘Doomsday’ shows world class dexterity in assembling state-of-the-art gargantuan of lower BPM Techno. Released this year on fellow Britons Dense & Pika’s Kneaded Pains label, it’s shuddering. The term Doomsday has many different interpretations in various shapes & forms, be it the ‘2012’ movie or DC Comics character. They both retain a similar theme to the title track – a sense of dread.


As described on Beatport, ‘Doomsday’s cascading drums and tripped out metallic refrain kick things off in typically explosive style.’ Whatever image Billy had when engineering the glistened sheened synths, you can imaging a crash and a bang of a Terminator landing could’ve been one. Continue reading