February 2025 was an epic month for releases which makes this one an epic post.
We’ve got a modern classic revisited plus plenty of old skool vibes for the house heads plus the full spectrum of techno from introspective experimentalism right to up to industrial strength nose bleeders.
There’s also a whole ton of big bassy wobblers, a numerological drum ‘n’ bass banger plus some cinematic downtempo music to cool things off. Lots to get through this month so let’s just ‘ave at it.
House
The Rebirth Remixes – Oniris Feat Pat Brooks (Bedrock Records)
Let’s start off with my top house release, which is a bit of a cheat because it’s not a new release, but rather a re-release of a classic track plus three new remixes.
Also, feel free to argue as to whether this counts as house music or not. (It’s got a four-four beat and pianos at low BPM so close enough.)
The original track is a classic. You can’t argue with that. And, like most people I imagine, I was first introduced to this track and Oniris’ work in general, via Laurent Garnier.
The Rebirth is the perfect Garnier choon, epic, emotive and relatively obscure. It has a classic house groove and you can trace its disco influences too, but the style of piano play gives this track an almost classical quality.
The subsequent addition of strings ramps up the melodic intensity, the strings growing and growing to a crescendo. Gets me every time.
Because the original is such an incredible piece of music, I would be recommending this release even if all the remixes were terrible. Which, thankfully, is only mostly true.
The first two remixes are garbage, John Digweed & Nick Muir deliver an embarrassing slice of trance fromage while the Ruede Hagelstein also misses the point completely with yet another progressive-paint-by-numbers abomination.
But then we get to the Blissed Out Remix, a downtempo reinvention which completely took me by surprise.
Unlike the other two remixes, it retains the best elements of the original, including those epic strings, but it also completely upends the tempo. So instead of a house track we get something that’s closer in tempo to hiphop.
There’s also some chilled guitar licks added, plus some additional string melodies and other fresh elements, all grooving along at a pace and vibe more reminiscent of classic Nightmares on Wax. 👍
This remix vindicates and balances the release. Sure, the first two tracks are shite but who cares, because tracks three and four are pure gold.
It Just Happened EP – Steve Bug & Cle (Self Released)
Here’s another name which regularly intersects the Garnier sphere.
Germany’s Steve Bug has an enviable back catalogue of house and techno, not to mention having a cool name.
This three-track EP has a distinctly retro house feel to it, especially the title track which takes its cues from classic Larry Heard, with some slippery acid added over the top for good measure.
Crew Thing is a bumpin’, piano-based party track while House Music Trends has more of a twisted 90s French vibe.
None of it is particularly original, but I’ll take unoriginal old skool house with a proper groove over unoriginal tech house with zero groove whatsoever any day of the week.
Hot Stuff – CYRK (Polari Records)
Hot Stuff is a three-track release from German duo CYRK.
The titular track is a vampy piece that draws inspiration both from 70s disco and early 90s Belgian warehouse rave. It has a steady breakbeat groove and an accompanying acid line driving the track along. The main event, however, is that infectious white gloves and glowsticks riff.
Nuit Blanche & Lunettes Noires is a huge load of “indie dance” pseudo disco bollocks splattered in 90s trancey jizz. It’s definitely not my thing at all but judging by the campy cover art I’m outside the main target demographic anyway.
Track three, That’s How It Is, has echoes of Eurodance but fused with a golden age of house vibe, evocative of the Frankie Knuckles’ classic Let The Music Use You (recorded as The Night Writers).
So it’s fair to say I’m conditioned to like this one more, even though I couldn’t ever imagine myself playing it in a set.
So what we have, essentially, is one track that instantly sets off my trance gag reflex, another track that’s ok but I can’t picture myself ever playing it anywhere ever.
Though none of that matters since the title track is such a choon.
Like T99 or Quadrophenia, Hot Stuff sounds like it came straight out of a time portal to 1991 and I mean that in the best possible way. It’s big, loud and shamelessly hedonistic the way dance anthems are meant to be.
Acid Sampler – by Space Dimension Controller (Self Released)
Belfast-based Space Dimension Controller is normally a name I associate with electro but on this one he’s sticking to a strict, 4/4 kick regimen.
Again, I’m adding this release under the house section since it’s the closest fit. It’s acid house alright, but not the normal garden variety, ranging instead from DMX Krew-style 80s synth funk vibes to more detuned Aphexy-sounding material.
Pretty compelling stuff overall. I’m particularly partial to Kosmische Conga, probably stemming from the fact that it reminds me more of old skool console games rather than old skool acid.
Techno
MF33 Volume 1 – Various (Mighty Force)
Mighty Force is a label with a storied history and a reputation for always delivering forward-thinking techno and electronic music.
This 11-track compilation is a case in point, packed with tracks ranging from Detroit futurism to dub techno, breaks and a whole lot of acid. So obviously I snatched up a copy as soon as it was released.
And I urge you to do likewise if you haven’t done so already. Top quality from start to finish.
COD3 QR 016 – Various (COD3 QR)
Another compilation this which, once again, showcases a broad spectrum of music.
In case you haven’t already realised, I’ve become quite a fan of Laurent Garnier’s Cod3 QR label. And a lot of that is down to the diversity of sounds it supports.
On this album you’ll find everything from downtempo beats to banging techno, gritty bass music to angry modular squawks, it’s all here.
NEL Adventures – Cristian Vogel (Self Released)
A new album from Cristian Vogel? Yes please.
NEL Adventures was released at the end of February and features 11 tracks of inventive and inspiring pieces ranging from sweet and melodic to more tonally challenging tracks.
The result is an album that veers more towards home listening than the dancefloor but is compelling from start to finish.
Vamp – Joline Scheffler (H-Productions)
Onto some proper dancefloor techno this time around, the Vamp EP from Sweden’s Joline Scheffler released on Cari Lekebusch’s H-Productions label.
Joline dishes up three solid slabs of minimalist machine funk, of which the title track is my personal favourite.
It’s strict, no-nonsense techno created for one purpose and one purpose only – getting people to dance.
Clap For Me EP – William Kiss (Rekids)
Released February 16th on Berlin’s Rekids label, William Kiss delivers four straight-up stompers bridging the gap between jackin’ Chicago house and minimalist Detroit techno.
Perfect for transitioning from house to techno or otherwise building tension during sets.
dyLAB – Rag Doll Dance (Acid Worx)
Another label I keep coming back to is Japan’s Acid Worx label. They focus on just one specific area but they do it so well.
Of course it helps having talented producers like dyLAB contributing releases on a regular basis.
Tower Hamlets – Ryan James Ford (Clone Basement Series)
Ok, ok, full confession this one actually came out the end of January, but I forgot to include it so I’m adding it here now.
Despite being just four tracks, this EP is quite diverse. You got the retro 90s vibes of Dimples, the melodic Oriental experimentalism of Extendo and the driving paranoia of Cheese Bin, a demented piece of electronica which sounds like trying to beat a Legend of Zelda dungeon while overdosing on amphetamines.
But for me the creepy minimalism of Bellmarsh, the opening track of the EP, is the standout.
So apologies to Ryan James Ford for not including you in January and hope to hear more interesting stuff from you soon.
Static – Perc / Sissel Wincent (Perc Trax)
Not sure if you noticed or not but I’ve been attempting to order all these releases by energy levels, which is why our last techno entry is a Perc Trax release.
Perc Trax is a label I have mixed feelings about. They certainly deliver on the banging part of the techno equation, heavy on the bass but often light on the funk.
That said I still like to keep an eye on them because when they get it right, the results are glorious.
I guess part of what drew me to Static is because it reminds me very much of another Perc Trax classic, 2017’s Look What Your Love Has Done To Me. (Fucking hell, that’s 7 years old already!)
So yeah, I don’t think Static’s particularly original – female vocals over driving industrial beats is something Perc’s done before – but this track’s it’s a choon so it doesn’t matter.
Drop this on the dancefloor and watch them bounce off the walls.
Electro / Bass / Breaks
Self Manifest – Viclan (R&S Records)
Another compelling release from R&S Records, Viclan’s two track Self Manifest instantly grabbed my attention on its mid-February release.
The title track fuses elements of electro and dub techno, all riding on rough industrial breaks.
While Signal Path has a rough thumpin’ tribal house vibe while still bringing that unhinged breakbeat energy, especially during those moments when we get those crunchy Amen breaks heaped up on top.
Listening back again it’s very much on that classic Armand Van Helden, Witch Doktor tip, which is likely the reason I imprinted on it so quickly. Does it mean I should have put this one under the house section… dammit. No, no I’ve committed, it’s half breaks, half house with breaks in it… it belongs here. Need to stop second guessing my genres.
A-Sim – Celeste (Human Disease Network)
Similar conundrum here, a two track EP with two different styles of music.
I’m putting A-Sim in here because my instincts are telling me to. Possibly because I first came across this name first via the Eddy Larkin label, which is all about the bass and breaks.
Don’t really know much more about A-Sim other than he’s from France, Human Disease Network is his own label and he seems to revel in switching between deep and dubby breakbeat stuff and more uplifting melodic neon techno.
The title track is certainly more of the latter, though still feels more experimental than your standard dancefloor fodder. I definitely like it, but that’s not why I’m here.
I’m here for track two, the atmospheric, Amen-tinged electro/breaks tripfest that is Voices In My Head. It’s a perfect intro track for an electro or breaks set, or even just as a temporary change of tempo you could drop amidst a set of moody techno.
Mash Down EP – Krotone (Dext Recordings)
Yeah, I could quite honestly drive myself crazy trying to play the genre game this month, best not to. Especially with releases like this, where there are so many different concurrent influences occurring simultaneously.
Mash Down is a breakbeat track with heavy dub overtones, Joker has more of a garage beat with a ton of raggamuffin bizniss (ahn ting) heaped on, The Freqency sounds like Basic Channel trying to make bass house, while Insane certainly delivers on its premise by mutating back and forth between a breakbeat track and a house beat, accompanied all the way by some serious woofer-pummelling bass.
If all those influences appeal, then you’ll at least get a clear indication of what to expect, though I’m hardly doing this release justice. You really need to listen to it to fully appreciate the scale of bass worship on offer here.
Lock Off – K-65 (Flightpath)
Up next, two cuts of bassy, atmospheric breaks on Mani Festo’s Flightpath label.
K-65 is another relatively new discovery of mine. The music came first, then the “hmm, there’s that name again…”
Discovering the guy’s from Bristol is one of those moments when all you can do is nod and go, “yeah that makes sense.”
This time he’s delivered a two track release of straight-up, no-nonsense, bass-heavy breaks made specifically for the dancefloor, preferably one with the largest and loudest sound system possible.
River Songs – Al Wootton (Trule Records)
It’s two in a row now for Trule.
They featured last month and Al Wootton has made certain they’re getting a mention again today.
Al Wootton is another one of those producers I’ve found myself enthralled by in recent years. His new River Songs release continues the streak of innovative, bass-saturated music with a strong emphasis on tribal sounds, interpolated layers of polyrhythmic percussion and rich dub sensibilities.
There’s something distinctly hypnotic about his music. Few if any producers can produce something you can meditate to or dance in front of a large speaker stack, or both. (Both makes the most sense.)
The highlight for me is the sub-bass and bongo-driven vision quest that is Tone Circle. My only gripe is that, at a mere 3 minutes 51 seconds, it’s at least five times shorter than I would like this track to be.
Saucer Sectionals – Mr. Blix (Stereo on Strike)
Saucer Sectionals is a five-track electro EP from Mr. Blix.
Mr. Blix is an alias Wanz Dover, who also records under the alias Blixaboy.
Now you might think you got some big electro, but in Texas they got electro THIS BIG. 🤠
It’s not a part of the world we generally associate with electro and techno but the Blixmiester is doing a great job at changing that perception.
Rusty’s Final Fury is the opening a track, which sees a series writhing arpeggios duelling over a rough glitchy beat.
The title track, Saucer Sectionals, sounds much closer to Detroit than Dallas while Puff Academic might be more accurately named Dub Techno Breakin’ Two – Basic Channel Boogaloo.
Racks Xnip Cyber Eye (whatever the fuck that means) is a sparse and spacey cut of acid-tinged Drexciyan dub while Crree Galaxy Jam once again fuses electro beats with dub techno sensibilities.
That distinct combination of influences is I love on this release. More more more!
Dnb / Jungle
Counting Remixes – Hamdi
I only got one for track here for this month and it’s a remix. I actually have no idea as to the original, I just came across this release by accident and immediately snapped it up on the basis of one track.
The rest of the EP is tedious, two standard dubstep tracks plus the obligatory groiymey mandem meh-larky. (Innit bruv) 🥱
But who cares? That Simula remix is pure sweltering jungle heat, with some serious shuddering bass and the vocal hook is (literally) perfect. 🔥
It’s also a handy transition track that you can use to mix between different styles, like for example if you want to blend jungle with more contemporary drum ‘n’ bass tracks.
Downtempo
Hope LP Extended – Vince Watson (Self Released)
What can I say? I’m a sucker for Vince Watson. I’m certain I’ve included him here before, well, he’s here once again.
Ironic, too, that I should end this roundup as I started, with a release that’s not actually a new release at all, rather a re-release.
This is an extended edition of an album of soundtrack music Vince Watson first released in 2018.
Another ironic parallel to the Oniris EP I mentioned at the beginning of this article is that, while I generally bristle at terms like “melodic techno” and often find the music as nauseating as the genre name itself, I’m a sucker for a very specific variant of melody-heavy dance music.
Producers who can combine true techno sensibilities with classical style arrangements will always win me over. It’s why I included the Oniris track earlier, it’s why I keep referring back to Laurent Garnier and Cod3 QR and it’s why I find myself accumulating way more Vince Watson releases than I ought to be, given that he’s not really suitable for club play.
Similarly, put some ambient in front of me and I’ll keep skipping ahead wondering when the beat’s finally going to kick in. But put some carefully crafted orchestral music in front of me and you’ll soon have my full attention.
Once this release came on my radar, I jumped on it and was instantly enthralled. There are some truly beautiful moments on here, mainly comprised of piano and string arrangements.
There are a few pieces which are reminiscent of Craig Armstrong. And then there’s my personal favourite one, Ghosts, which has a real minimalist Phillip Glass vibe to it.
Wrap it up
Holy fuckaroos what a month!
This one deffo feels like it’s my longest month in review session yet, the wordcount is certainly epic.
So no need to prolong it any further than necessary, signing off and we’ll be back with more top tunes next month.