Various Artists
SETR008

As one half of the Psychick Warriors Ov Gaia Robbert Heynan helped define the burgeoning sound of Tribal Techno in the early 90s, the duo produced a slyly conceptual and wonderfully cohesive body of work which included, amongst others, 3 classic albums, many groundbreaking singles and a Radio 1 Peel Session. In 1992 Heynan left to pursue a solo project under the name Exquisite Corpse and continued to release an inimitable string of House and Techno tracks, his production techniques and meshing of styles resulted in a unique signature that refuses to be categorised still to this day. For WRECKS042, Klasse Wrecks is proud to present a repress of one of Robbert's most hidden records, long out of stock around the world and well under the radar is the 'Chief' EP. Originally released in 1996 on Dutch label Prime the two tracks from the original EP have been remastered and are presented alongside two brand new and unheard versions, which have been laying dormant since waiting for the right time to peer out into the daylight. The resulting record is a wonderful capsule and insight to the body of work and creativity of Robbert, at times dark and hypnotic, introspective and heady but with the crosshairs always firmly set on the dance floor.

As Frankie Bones eloquently noted, “the five-year run of Plus 8's sub-label Probe sometimes would seem to be putting out better releases than its parent label”. One of those indelible releases was ‘The Arrival’, signed by Casey Tucker under his Variable Frequency Technician moniker. “Cross Section”, the anthem that closed the B-Side of the original 1995 release, is getting now a re-release on Certain Music with two remixes from Fit Siegel and Marc Piñol plus a proper retake from Tucker himself.It’s hard to tell what’s the most interesting feature of this singular track. Above all is a sharp and defining concoction of what listening to underground techno in the 90s was: warm and blissful chords over a metallic rhythm section, intrincate hi-hats, syrupy synths and a rubber-like bassline —you name it, the track covered it. Tucker’s 2021 remix keeps the vibe pretty much where it originally was, but now building things wider, tremendously three-dimensional and diaphanous. More than a remix, it’s a way to appreciate Tucker’s genuine evolution as an artist over the last three decades.On the flip side, Fit Siegel signs an acidic and jazzy rendition full of twists and turns: keeping the groove in check while showing an infinite array of layers and melodic ingredients. Marc Piñol does pretty much the opposite while keeping the acid intention, building a ponderous bass-driven track with vocal delays, repetitive percussions and periodic glimpses of Tucker’s exquisite synths.

Having released his own music for several years on his self-titled label, Berlin-based DJ/producer Amotik presents AMTK+, a new extension of the imprint focussed on featuring other artists via split-EPs. Leading this new series is an EP from Italian-born producer Deluka and Amotik himself, a four-track offering of stripped-back, hypnotic, driving and meditative techno from two artists at the top of their game.

Amsterdam based DJ and producer Mayo joins the Fides family with her Frenemies EP marking the 15th release of Fides Records.Mayo showcases 5 cuts of finely crafted electro and EBM-influenced Techno, it's impossible not to be drawn by her distorted voice that defines each track.Unrelenting grooves and a deeper look into her analog sound design flair, these tracks are timeless in sound and production quality.“Tell me how you die” kicks it off as the A1 with stomping analog kick and drums, a dark jumping bassline pushing the groove with ethereal synths.“Not your shadow” as the A2 strips it back into a 303Acidbass-based track marked by singular industrial sounds and Vocal Shots that are lost in the groove carried by a background synth sequence that follows throughout the track.The last track of the A Side is “Frenemies” a pulsing, meditative composition featuring label owner and Tresor resident Z.I.P.P.O, who added to Mayo's energetic, analog and eventually dark sense, a more mental, deep and intense face typical of the Italian artist. The B Side starts with Miami Legend Danny Daze’s Hell Mix of “Frenemies” in which he exhibits his unique sound design techniques, combining tribal-tinged rhythm, sharp FX that pops up from the corners of the soundscape with stretched vocals in order to highlight the track's protagonist: a modulated brass bass.Mary Lake’s Remix of “Tell Me How you Die” closes the EP with a deep kick drum driven forward with rolling and modulated closed hats that run through the track while atmospheric sounds carry the filtered Brass before dissolving into the end of the track.

Some 20 years on from its initial release, it's amazing how fresh and current 'Praise' by Leigh Dickson sounds, every bit as reinvigorating as a swim in an icy mountain stream. Sushitech imprint Pariter have opted to remaster the lush original mix in its full glory, adding the already well known and much loved Baby Ford Heavenly Circuit remix alongside a new, unreleased 'alternative remix' and new mixes by Pariter's own Ogerman and Derek Carr. All four sides are eminently playable in the deep house/techno framework, as you'd imagine, with varying levels of the original's bewitching instrumentation retained.

Tunik lands on Dekmantel with his distinctive strain of jacking drum machine electro-techno. The Barcelona-based, Argentina-born artist first emerged in 2020 with a standout EP and collaborative spot for Nicolas Lutz’s My Own Jupiter label before notching up a release with Furthur Electronix, and now his emotionally-charged sound spreads its wings once more.A New Dawn lands somewhere between original 80s synth-pop, the noirish allure of early 00s electro and sleek modern techno, using a full spectrum of synths to draw out harmonically rich tunes that pack in the feels while holding enough mystery to keep a dancefloor enthralled. From the melancholic chimes of 'New Dawn Fades' to the electro lament of 'The Aeon', 'Electro 01's punchy, bass-warping rave energy to 'Third Eye Connection's acidic introspection, it’s an EP which cements Tunik’s highly developed expression through his array of studio tools, all strapped to finely honed club structures for maximum dancefloor impact.