Collection: Techno/Minimal/Tech-House

Mallorca-based artist Todd Gartland made a sizeable impression with his first 12" Move Electronic, which launched the Planetary Instinct label back in 2021. Since then he's graced Eterno and CABARET and now he's bringing his artful blend of tech house, breaks and psychedelia back for another sizzling bout of ear-candy. 'Dubby Doingz' is a funked up roller with bewildering layers of sonic trickery sneaking around the spooky synth lines and chunky beat. 'Eek-A-Freak (Sub Mix)' brings some pointed, crusty reggae samples into the mix for a lean and mean soundsystem workout, while 'Hope For Humanity' strikes a melancholic tone in its own cultivation of samples, synths and drums. B2 joint 'Space Dub Extract' is a stand-out curveball that slips down to hip-hop tempo and piles on some delightfully trippy modular synth licks that should go down well with the bean bag cognoscenti

Following a couple of impressive appearances on R.A.N.D. Muzik, Jay Gadian is back in action with this new drop for US label Space Dust. This is quintessential electro business dealing in icy, dystopian tones peppered with crafty sonic detailing. If 'Sensory' is something of a pensive opener, 'Green Dimension' soon shakes up the program with its hyphy leads and dirty, twisting bassline. 'East' is an airy affair which has a little more 80s flavour referencing back to the likes of Jonzun Crew, and '20 Or More' plays around with the rhythm for a more fractured framework around the darting shards of synths and sampling.

The Lonewolf label strikes again with another intriguing new 12" that mixes up synth, wave and electro. E Bony is behind it and we know nothing of who they are but they clearly know how to coax some magic out of their machines. 'Hello & Goodbye' opens with rasping electro bass and rugged analogue drums while 'Half Man' takes off on a more arresting and peak time trip to the stars. 'No One Is Here' has silky arps and classic electro bleeps driving it along while the B-side begins with a La Mverte remix that brings plenty of metallic dark disco chug to the floor. The original is another bright, twitchy electro workout.

A hard to find sci-fi Detroit techno classic - it's featured everywhere from Marcel Dettmann to Zip's SW sets.- gets a timely reissue complete with a new, super solid Delano Smith remix. It's hard not to love the original in all its futuristic glory, led by a sturdy four-to-the-floor pummelling but boasting a throbbing neo-disco bassline - imagine a lost Gorgio Moroder classic being remade by Jeff Mills in PurposeMaker mode. But the Delano Smith remix updates it for modern palates, ironically by delving back even further, to the early 70s model Kraftwerk from whom he borrows some very austere but classy synth sounds and a touch of electro syncopation. Take your pick according to mood, they both do the job admirably.

Savor Music is fast approaching its quarter century but just ahead of that milestone comes another timeless EP from Alexis Cabrera. Everything from Chicago jack to Detroit soul is referenced in these well-crafted and club-ready cuts, starting with the cosmic cruise that is 'Funkhouser'. 'The Next Tomorrow' throws it back to the 80s in its bright synth chords and 'Guitars On The 5th Cloud' sinks into a nice deep and heady mood with its melancholic bassline and skittish synth-guitar sequences panning about the mix over a soft acid gurgle. 'Don't Give Yourself Away' brings a touch of silky electro rhythm though a menacing bassline keeps things firmly rooted on the floor.

For Erika's second album Anevite Void, she explores her live process as it permeates everything she does, including documenting the process of life in the elaborate sci fi mythology she created. Erika began performing live in Ectomorph in 1997 when she was gifted a TR-606 by BMG and asked to join the group. This grew to her building her own studio, performing solo as Erika, collaborating with people like Jay Ahern and Noncompliant, and performing as a member of Circle of Live. Anevite Void finds Erika organically writing songs for her live shows, allowing them to take shape through performance, and later recording them in the studio, making this the first album she has entirely written and produced on her own. Mixed by long time collaborator BMG, she finds this record as the launching point for a new process; conceptually, it was inspired by "the irregular life cycles created by three suns circling over a planetary organism that presents two major biomes: rocky crystalline desert, and deep layered forest, each of which exists above and/or below ground, depending on what phase the suns are in."