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Meditative, absorbing dance music in true Moritz style — at times seemingly transfixed by its own elements, and minimal almost to vanishing-point, but quickly back ticking, kicking and amassing.

Swelling out of thin air like a monstrous child of Krautrock — immense, propulsive, minimal — with a Mala remix which ratchets up the open-air drama and dread.

Two sick techno killers, stalking the perimeters of noise; and generous excerpts from a soundtrack to Dreyer’s Vampyr, with Sun Ra in its marrow, alternately driving and motorik, off-the-wall, lost in space.

Superb house EP — raw, deep and stepping — forming a fresh Manchester-Leipzig-Bristol nexus.

With a Joey Anderson.

Showing off six years of work, with some unleased tidbits, all perfectly put together: techno album of the moment by a mile.

Raucous, volatile, crackling brilliance from North Japan, testing the monster-infested electric fencing between techno and noise. Plus some witching, spasming, dancefloor Eomac to polish you off.

With Substance and Surgeon mixes.

Witth Shake Shakir, Matthew Dear and Jamal Moss remixes.

Swingeing Chain Reaction vibes. Outstanding.

A second round of old school vibes from the Analogue Cops and Blawan: four shots of raw and gritty techno.

The two dubstep pioneers at the top of their game. Truly an album, the music is multi-levelled — dark as anything at times, but engrossingly varied and emotionally shaded, always on the move.

Extra to the LP, with a magnificent, epic, head-scrambling remix, more spaced and spooked than the original. Shackleton’s dream liturgy fully unfolds — an eerie, garbled sublimity, a kind of black-magic plainsong.

Al Tourettes and Appleblim electrofried on one side; a Deuce techno stomp the other.

Classy house — with do-overs by Shake Shakir and Kowton.

Caustic, laconic, long-face techno thumpers.
Less single malt than paint-stripper (albeit expertly applied with a sex-machine).