Tapping into the otherworldly frequencies of the UFO series, UK-born, Lisbon-based prodigy Rene Wise arrives on Dekmantel with an assured demonstration of his position at the cutting edge of real techno. Andrew Shobeiri appeared in the cut and thrust of the scene fully-formed around 2017, instantly bringing his Rene Wise alias to top-tier labels with a razor-sharp combination of functional minimalism and mind-warping flair. There's no grey area fluctuation in his hypnotic, intentional sound this is deep, captivating techno for the long haul, music to submit yourself to. True to his sound, Rene Wise makes his presence felt on Dekmantel UFO with a varied spread of sounds, leading with the melancholic charm of the melodic sequences weaving through 'Johnson's Theme' before sinking into the engrossing folds and low-end rumble of 'Granite Skin'. There's a lighter atmosphere at play in the vaporous impulses that mark out 'Flow' before rolling into the rhythmic urgency and strafing bleeps of 'Kanga'. This is the Dekmantel UFO experience as expressed by one of the leading lights in modern techno an artist who understands the psychoactive power contained within the subtleties of production and pursuit of the ultimate loop.

Making a welcome return nine years on from his last outing on Dekmantel, Makam offers up a generous helping of wayward grooves that take his curious spirit even further into unmarked territory. With a strong dub sensibility grounding his rich tapestry of percussion and instrumentation, Guy Blanken follows his own path to arrive at an album that embodies house music as a launchpad for experimentation. Blanken says himself he was determined to approach his first Makam productions in years from a place of total freedom Its not a single direction, but rather a landscape of sounds, moments, and textures. TARP feels like a new beginning, a free project that just had to happen naturally. The steady pulse of the club remains a guiding principle boldly manifested on heads down roller Static Shade, but even in the lilting organic loops and tumbling percussion of Forgive there is a funkiness thats beholden to continuous movement. At times the direct thump of 4/4 disco juts out as a call to dance, not least on Flying Birds and La Tuna, but elsewhere the rhythms are more slippery. Dub In Loen plots a delicate path through dub techno and Lummel Spirit casts off into pattering Balearic bliss. The pervasive dub mood of the record comes to the fore on expertly crafted stepper Diagonal Rain and crooked album opener Clear Skies. Jackie B lands as a love letter to quintessential deep house, and yet still theres a left-of-centre charm that gives the track a personality that is pure Makam. Exuding warmth and imagination at every turn, TARP is the perfect example of how to make a groove-oriented album a rich home listening experience. There are ample moments primed for the spectacle of the dancefloor, but the mellow hue and broad sweep of approaches make Makams welcome return utterly compelling from end to end.

Tapping into the otherworldly frequencies of the UFO series, UK-born, Lisbon-based prodigy Rene Wise arrives on Dekmantel with an assured demonstration of his position at the cutting edge of real techno. Andrew Shobeiri appeared in the cut and thrust of the scene fully-formed around 2017, instantly bringing his Rene Wise alias to top-tier labels with a razor-sharp combination of functional minimalism and mind-warping flair. There's no grey area fluctuation in his hypnotic, intentional sound this is deep, captivating techno for the long haul, music to submit yourself to. True to his sound, Rene Wise makes his presence felt on Dekmantel UFO with a varied spread of sounds, leading with the melancholic charm of the melodic sequences weaving through 'Johnson's Theme' before sinking into the engrossing folds and low-end rumble of 'Granite Skin'. There's a lighter atmosphere at play in the vaporous impulses that mark out 'Flow' before rolling into the rhythmic urgency and strafing bleeps of 'Kanga'. This is the Dekmantel UFO experience as expressed by one of the leading lights in modern techno an artist who understands the psychoactive power contained within the subtleties of production and pursuit of the ultimate loop.

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantels UFO series. French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive. Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as a playful prophecy about the triggers of a new global revolution. Cell considers the title, Dying is the internet, to be a mantra about how the internet lost its soul, becoming less about sharing ideas and more about surviving in a digital business ecosystem. Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels. Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental clubbiness of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawys laconic trumpet looming through low-slung Reels in 360 and Travelling In BCC to the persistent handclaps that bring Living Emojis to life. Miniawys poetry explores the power of insistent, repeated phrases in a break from his more typically structured form. Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener I See The Stadium, but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cells incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced Tear Chime comes loaded with physicality a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory. Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

Dekmantel Techno (Raw / Deep / Hypnotic)

Dekmantel Techno (Raw / Deep / Hypnotic)

Dekmantel Techno (Raw / Deep / Hypnotic)

Wata Igarashis first album on Dekmantel is a lightning bolt of immediate, immersive and impactful techno energy that maximises his trademark tunnelling rhythms and psychoactive arpeggios with stunning results. Compared to some of his dreamier releases on labels like Midgar, The Bunker New York and Delsin, here were treated to a more intense, hi-octane dimension to Igarashis sound perfectly demonstrated in the wide-eyed, invigorating rush of Shockwave, Meltzones nagging acid frenzy and Unleasheds delirious, pitch-bent peaks. Precision honed and revelling in the hypnotic abandon of the loop, My Supernova is a techno album through and through, but its also overflowing with the kind of head-melting creativity and nuanced production that Igarashi has made his own. Just lose yourself in the giddy arps of Supernova a joyous whirlpool of synths upon synths upon synths reaching fever pitch without even a hint of brute force.

Dekmantel is proud to welcome Theo Kottis for an EP of snappy, melodically-charged house, techno and electro with a distinct 90s edge. Lighthouse marks a shift in focus for the London-based Scottish producer the result of a self-imposed creative reset which has seen him honing a more mature sound both in the studio and on the decks. The EPs title track has been on heavy rotation this summer from the likes of Ben UFO, Francesco Del Garda & Palms Trax, and its not hard to work out why. Lighthouse draws on all the best elements of club music and moulds them into a deadly, effective whole. From the driving low-end of the Reese bassline to the razor-sharp attack of the 4/4 drums, the swoon of the Motor City pads to the tweaked acid line, its a hybrid techno workout of the highest order. Following the inspirational flash point of Lighthouse Kottis built out the rest of the EP in a similar vein of characterful, impactful club tracks driven by iconic 90s sounds wielded with precision. Warp brings the 303 further to the forefront while Take Control digs into deliciously dirty lead lines and Distance takes a more explicit electro direction. He might be exploring a revitalised sound, but Kottis holds true to his flair for ear-snagging anthems evidenced on past releases for Permanent Vacation, Space Dust and DGTL amongst many others. As Kottis impact on the scene continues to grow, its a true pleasure to present some of his fiercest tracks to date on his continued upward trajectory.

Dekmantel Techno (Raw / Deep / Hypnotic)

Dekmantel is proud to welcome Theo Kottis for an EP of snappy, melodically-charged house, techno and electro with a distinct 90s edge. Lighthouse marks a shift in focus for the London-based Scottish producer the result of a self-imposed creative reset which has seen him honing a more mature sound both in the studio and on the decks. The EPs title track has been on heavy rotation this summer from the likes of Ben UFO, Francesco Del Garda & Palms Trax, and its not hard to work out why. Lighthouse draws on all the best elements of club music and moulds them into a deadly, effective whole. From the driving low-end of the Reese bassline to the razor-sharp attack of the 4/4 drums, the swoon of the Motor City pads to the tweaked acid line, its a hybrid techno workout of the highest order. Following the inspirational flash point of Lighthouse Kottis built out the rest of the EP in a similar vein of characterful, impactful club tracks driven by iconic 90s sounds wielded with precision. Warp brings the 303 further to the forefront while Take Control digs into deliciously dirty lead lines and Distance takes a more explicit electro direction. He might be exploring a revitalised sound, but Kottis holds true to his flair for ear-snagging anthems evidenced on past releases for Permanent Vacation, Space Dust and DGTL amongst many others. As Kottis impact on the scene continues to grow, its a true pleasure to present some of his fiercest tracks to date on his continued upward trajectory.

Making a welcome return nine years on from his last outing on Dekmantel, Makam offers up a generous helping of wayward grooves that take his curious spirit even further into unmarked territory. With a strong dub sensibility grounding his rich tapestry of percussion and instrumentation, Guy Blanken follows his own path to arrive at an album that embodies house music as a launchpad for experimentation. Blanken says himself he was determined to approach his first Makam productions in years from a place of total freedom Its not a single direction, but rather a landscape of sounds, moments, and textures. TARP feels like a new beginning, a free project that just had to happen naturally. The steady pulse of the club remains a guiding principle boldly manifested on heads down roller Static Shade, but even in the lilting organic loops and tumbling percussion of Forgive there is a funkiness thats beholden to continuous movement. At times the direct thump of 4/4 disco juts out as a call to dance, not least on Flying Birds and La Tuna, but elsewhere the rhythms are more slippery. Dub In Loen plots a delicate path through dub techno and Lummel Spirit casts off into pattering Balearic bliss. The pervasive dub mood of the record comes to the fore on expertly crafted stepper Diagonal Rain and crooked album opener Clear Skies. Jackie B lands as a love letter to quintessential deep house, and yet still theres a left-of-centre charm that gives the track a personality that is pure Makam. Exuding warmth and imagination at every turn, TARP is the perfect example of how to make a groove-oriented album a rich home listening experience. There are ample moments primed for the spectacle of the dancefloor, but the mellow hue and broad sweep of approaches make Makams welcome return utterly compelling from end to end.