Terremoto / Finally Here is a two-track EP that opens with the raw and churning groove of “Terremoto,” before the old-school synth chords and nostalgic vibe of “Finally Here.” It’s a dynamic EP that’s out via Autektone Dark, and it displays Boom Merchant’s production skills. DJs already supporting the release range from Anna Reusch to Anderson Noise.

This is the third time that Boom Merchant has featured on T78’s record label Autektone Dark, and he also runs his own imprint called Tribal Pulse. Other record labels to feature his music include the likes of Sisko Electrofanatik’s Gain and LaLa’s Brand New Records.

2024 was a big year for Boom Merchant who moved away from his adopted home in Scotland and relocated to Mexico. He is originally from Ireland, and is a well-travelled DJ who has played international shows in a slew of countries both in, and outside of Europe.

Both tracks on this release have a solid foundation with heavy drums and eerie tension created by dark atmospherics. “Terremoto” is definitely the more high-energy of the two, but “Finally Here” is also a dance floor focused track. 2025 seems set to be another big year for Boom Merchant.

Buy / Stream “Terremoto / Finally Here” HERE.

The post Boom Merchant Lands On T78’s Autektone Dark With Dark & Raw techno EP “Terremoto / Finally Here” appeared first on Data Transmission.

It’s Georgia Lee’s second time on Gain, andshe is a well-respected DJ within the Italian scene. She was resident at the Circolo Degli Artisti nightclub in Rome, but played regularly at different cities across Italy, often sharing the decks with techno legends ranging from Ellen Allien to Regis.

“Out of the Dark” is Georgia Lee’s solo original on the release, but it’s accompanied by a swath of remixes that each transform the original into something distinctly different.

Alex Nocera takes things harder with a beefed-up techno remix similar to what he has released via the likes of Spartaque’s IAMT and Frankyeffe’s Riot.

The other two remixes drop the tempo and take things a little deeper. Produkkt drops an electro influenced indie dance version built around dystopian pads and a new bassline.

D Lewis provides the final remix, and it’s a deep and disco-tinged version with a funky bassline and feel-good vibe that’s in total contrast with the original.

Gain Records is primarily a techno focused record label, so it seems logical to think that the original and Alex Nocera remix will get the most attention, but that’s not to discount the innovation and quality of the other two reworks.

Buy / Stream “Out Of The Dark” HERE.

The post Georgia Lee Lands On Sisko Electrofanatik’s Gain Records With New Techno Single “Out Of The Dark” appeared first on Data Transmission.

The opening two tracks, “Acapulco” and “Dadle,” are in Boom Merchant’s traditional techno style, but the last track, “Fivejag,” shows another side to his sound.

Fivejag is a breaks track with a lurching bassline and phasing drums, giving it a warping sound that is full of intensity. It moves away from the techno music that Boom Merchant has released on record labels like Gain Plus and Autektone Dark, but it is not out of place on Tribal Pulse, as the imprint often releases breakbeat tracks by Ukrainian artist Hockins.

Acapulco is likely the track that most people will gravitate towards, as it has got churning techno percussion layered under a blissful lead synth. The warmth of the melody and industrial feel of the drums make this a perfect sunrise techno track.

Dadle is a quirky track that might split opinions, because at its core it is a dark and brooding techno track, but its breakdown introduces a jazz flute section. The jazz sample makes it a unique way to break up a DJ set, but it does also move away from what would otherwise be a hypnotic groove.

It is a unique release that has already proven popular with a range of DJs including the likes of Anna Reusch, Slam and Maceo Plex.

Buy / Stream ‘Mexico on MPC’ HERE

The post Boom Merchant Lands On His Label Tribal Pulse With Driving New Techno EP “Mexico on MPC” appeared first on Data Transmission.

“Danger” is a peak time track with a cutthroat melody composed of stabbing synth chords that jerk and judder in harmony with the punch of the kick drum. The track’s pumping bassline adds a throbbing injection of energy to the robust percussion that holds the rigid groove.

For those who are familiar with Gabry Ponte’s traditional style on labels like Spinnin’ Records, the melody definitely has some crossover with his mainstage style, but the stripped-back sound and focus on thickset percussion definitely swings this one into the techno category.

This track is a testament to the huge crowds that Gabry Ponte normally plays to as a DJ. It has got a sound that would easily galvanise a room full of ravers looking to tear it up on the dance floor.

One of Gabry Ponte’s upcoming gigs is one such example of him playing to stadium-sized crowds, as he recently announced that in 2025, he will be playing a solo show at Inter Milan’s 75,817-capacity football stadium.

If you want to hear more techno releases from Gabry Ponte then check out his last release “La Techno” that was made alongside T78, and his AVAO collaboration was a hard-techno track in the style of Sara Landry and Klangkuenstler. Danger is out now on Gabry Ponte’s record label, PENTAPHONIA.

Buy / Stream ‘Danger’ HERE

The post Gabry Ponte Lands On His Record Label PENTAPHONIA With New Techno Single “Danger” appeared first on Data Transmission.

Andy’s 2017 residency at the Old Street hotspot led to him becoming the first artist ever invited back for a second residency at the venue, in which he sold out his 2019 13-week residency in record time – breaking XOYO’s website the moment tickets went on sale.

With that in mind, it will be no surprise that over 20,000 people tried to obtain tickets to Andy’s ‘One More Time’ show at XOYO on Sunday, 3rd December. After all, who could resist another chance to surrender to The Executioner as he set upon the intimate basement of one of London’s leading Drum and Bass hubs?

View this post on Instagram

A post shared by ANDY C (@andyc_ramagram)

Heading into the city on a cold December evening is always a crisp and bitter affair, and this was one of those occasions where you take a moment of gratitude for the concept of the ‘guestlist’. As we passed the colossal line of people outside the venue, it brought back glimmers of Andy’s previous residencies, paved with anticipation for an onslaught of face-melting throwdowns and applauded wheel-ups.

Stepping foot into XOYO London, we’re reminded instantly of its raw beauty and subterranean aesthetic. It’s almost portal-esque as you step in off the street with its highrise combinations of glass and steel and into the minimalist beauty of red brick walls, concrete floors and dark wood accents laced with neon and mood lighting. If you’re looking for a solid aural experience without all the fancy bells and whistles, just good old-fashioned raving, XOYO is up there.

As the club began to fill and the support acts intricately continued to wind up the musical thermostat, it was clear that we were in for a good night. Such a variety of people of all ages from different walks of life, all brought together under one roof by one common denominator; the vibes from the get-go were about as genuine as you’re likely to find on any dancefloor.

When Andy C and Tonn Piper stepped into the booth, you could feel an increased collective vibration throughout the venue. People were locked in and ready to let Andy unapologetically have at it – as he does in all his sets. As expected, no time was wasted in getting down to the nitty-gritty. No fancy long intro; lights down, hands up and away we went.

Traversing a kaleidoscope of Drum and Bass, Jungle, Hardcore, Liquid, Neurofunk and everything else in between, it was an archetypal educational experience. Showing class with acknowledgement of his fans in attendance, Andy’s willingness and ability to fuse timeless classics with New-school weapons are, as they always have been, seemingly boundless. It sometimes begs belief how someone can effortlessly engage with such a broad age range audience. Still, it also serves as a firm testament to Andy’s standing in the industry over the years as one of the genre’s perpetuating tastemakers.

Despite some technical sound issues halfway through his set, which meant there was a short break in the audio, it was over as soon as it began as Andy dived head first back into his onslaught completely unfazed – as though he had just nipped off to the toilet.

It may sound cliche, but nobody does it like Andy C. He is, always has been, and likely always will be, in a league of his own.

Based on previous experiences, the bar was set extremely high for this show. Going into the event, you’re thinking: “Is it going to be as good as previous shows?” or “How’s he going to match his residencies here?”

It has to be said. ‘One More Time’ could have easily been ‘One More Show’ at the end of one of his residencies. It was entirely and utterly electric from start to finish. The people. The music. The venue. It’s just an unbeatable combo, and we hope it’s not the last time Andy C graces the booth at XOYO.

Huge thanks to the guys at XOYO for having us down. We had an absolute blast and can’t wait to come back!

Check out XOYO London’s upcoming club program, including Jungle Cakes’ Xmas Party & Grooverider Presents ’25 Years of The Prototype Years’ HERE.

XOYO
https://www.facebook.com/xoyolondon
https://twitter.com/XOYO_London
https://www.instagram.com/xoyoldn
https://www.xoyo.co.uk

The post Reviewed: Andy C ‘One More Time’ at XOYO London – 3/12/2023 appeared first on Data Transmission.

Upon entering the festival, the familiar iconic flyover greeted attendees, with a sea of dancing ravers below. Conveniently located at the top of the entrance were food and drink stalls, lockers, and a medical/welfare tent, ensuring everyone’s well-being. A notable change this year was the shift to card-only payments, streamlining transactions and letting festival-goers fully immerse themselves in the music.

As the day wore on and the rain persisted, the fervent crowd remained undeterred flocking to all the stages. Even the allure of the Woods stage proved irresistible to the unwavering crowd who watched masterclass performances by the likes of Nick Leon, Batu and Hessle Audio amongst others. The day’s excitement unfolded with captivating sets on the Bridge stage. For most, the highlight of the day was undoubtedly the DJ Tennis and Carlita B2B, a set that exuded energy and kept the dancefloor buzzing. But as the tempo shifted and the evening rolled in, the atmosphere intensified as Nina Kraviz took the stage, delivering her signature trippy and high-energy tracks.

Beyond the Bridge stage, three new immersive stages added to the experience.  Grid boasted a melodic techno lineup with Asch Pintura, Chris Avantgarde, Mathame, and KAS:ST, culminating in an explosive back-to-back set by Adam Beyer and Cirez D. Quad hosted the Fuse stage, with a delightful selection of tech house performances by DJs like Raresh, Praslea and Enzo Siragusa. The duo of Sonja Moonear and Margaret Dygas showcased their expert curation, demonstrating why they’re revered as the ultimate selectors in the scene.

Blackout, the only indoor tent stage, was a magnet for festival-goers looking to escape the rain and indulge in the hard-hitting lineup. The queue for Blackout seemed never-ending, as the stage featured artists such as Adiel, Sama Abdul Hadi, and FJAAK. Closing the night with his trademark blistering set, Dax J drove the crowd into a frenzy, proving once again why he’s hailed as one of the industry’s most intense performers.

Finally, it was time for the birthday girl, Charlotte De Witte, to take the helm at the Bridge stage. By that point, the stage had reached capacity and was operating a one-in-one-out policy, yet the energy from the audience was palpable. Charlotte closed out the stage with a mesmerizing set, celebrating her special day in style.

Throughout the day, the festival’s production by LWE was impeccable, ensuring a seamless experience for the attendees. Everything ran smoothly, and the dedication of the organizers was evident in every detail. It’s safe to say that Junction 2 was a resounding success and well worth the wait.

And just a few days later, LWE shared the exciting news with six massive events announced at the new 15,000 capacity Drumsheds venue. Pre-sale tickets for all events will be released on Wednesday, August 2nd, for those who register.

The post Junction 2 Festival – Saturday : A Triumphant Return to Boston Manor Park At Last! appeared first on Data Transmission.

This is exactly what has happened to Michael Hooker. I’m guessing that perspiration is as important as inspiration to Hooker, but perhaps a recipe with ingredients of equal measure is what bakes the perfect cake. What is clear is he strives to reach a level of quality in sound you don’t hear every day with each sound clear and balanced, but still with plenty of space in the mix.

Label boss of Re:Sound Music, Hooker himself, has had some great highlights such as the impeccable ‘Journey To The Rising Red’ as featured in Sasha and Digweed’s Miami mix that was a real standout (although in some steep competition from other tunes).

This release on Re:Sound Music, a collaboration with HoodyHoo is a triumph. I’m taking an educated guess here that Hooker and HoodyHoo are long-term friends. Their sound meshes, it’s intertwined and complimentary. That’s not a bad start, but ‘Sirens Call’ is intriguing. The groove is funky, it’s progressive. That on it’s own is attractive. At two minutes I’m drawn in, heads-down and floor workin’. But then there’s a touch of the Future Sound of London, the gated pads, the build and especially the vocal sample.

This is riding a bike into a big-rig at Burning Man or throwing shapes at a wild outdoor party.

When the groove kicks in from the break it transforms again into a techno stomper, a runaway train of a track with confronting stabs and sharp rolling bass.

It’s like all the seasons came at once; summer sunrises and winter ice, autumn beauty and spring freshness. As an end user of ‘Sirens Call’ you won’t know whether to put on your shorts or your bobble hat – and that’s just the way we like it.

There’s an Anakim remix too, and it’s solid. It is however a tough job to stare down the original and is left a little lacking because of it.

‘Sirens Call’ has grown and grown on me. It’s one of those tracks you should be proud to discover. Watch out for Micheal Hooker, mark my words he’s on the rise. Miss this release at your peril and whilst you’re at it check out ‘Journey To The Rising Red’.

Score: 9/10

Buy from Beatport here:

The post Michael Hooker & HoodyHoo – Sirens Call (Re:Sound Music) appeared first on Data Transmission.

Gary tells me that the ‘Chrome Dome EP’ started with a visit to their ever burgeoning repository of tracks, and tackling the archive with fresh ears told them some gems had been overlooked and needed to see the light of day. For me, this resonates because despite Collective States relative youth the early tracks are super fresh, coming with the vitality of a new act that is having an outpouring of ideas.

I can see that ‘Amity’ might, at the time, have been too deep for an opening gambit, but with maturity and a change in times, it’s definitely worthy of release. Tracks like this have a timeless appeal, deep and thoughtful, moody and transitional. There are melancholy pianos, classic-style arpeggios, other-wordly ambients all bound together with a rope of tom-led, deep and tribal drums. Don’t expect roof-raiser, this is back-room or early doors, strobe-light flashing, head down and moving. ‘Amity’ is music from outer space, it’s a space station docking, it’s looking back down at earth from your space suit.

‘Chrome Dome’ toughens it up, harking (to some extent) back to the sound of ‘Planet Mongo’ with the cool vocal inserts, but again this is deeper. The growling bass and throbbing pads put it firmly into deep-progressive waters. This is another track that isn’t instant but listen again, there is an undeniable quality there that drives the sound, much more big-room but credible with it. The melody here works so well, less is more but the groove is peppered with subtle riffs that flow & ebb.

Knee Deep in Sound contributor and 43 Degrees head-man Hoten turns in a remix of ‘Chrome Dome’, doing a great job of bringing out the main elements and dialing in the peak-time. Production is excellent as you’d expect, it’s a rolling techno-progressive crossover, nothing short of what you’d expect from Hoten. It’s a great version but somewhat lacking in the soul that drives the original.

‘Droid’ is an acid-drenched techno cake. The main layer is the rumbling bass, almost distorted and constant. The acid sits on top burbling through and undulating through the arrangement as the other more progressive/deep house influenced elements drift in and out. ‘Droid’ is a lesson in simplicity, if the elements are all good you don’t need much. By utilising what’s there to good effect you can produce a clean & driving sound. This is a back-room basher, a techno bruiser. 

Early support from Maceo Plex, John Digweed, Tocadisco, David Moreno, Darren Epsilon, Alan Fitzpatrick and Paco Osuna. None of that is a surprise. What is a surprise for me is how mature these early tracks sound. In my view they are some of Collective States best work and I’m glad they decided to release them into the galaxy.

Score: 8.5/10

Buy from Beatport here:

The post Collective States – Chrome Dome EP (High Tide Recordings) appeared first on Data Transmission.

It’s much the same for André Hommen’s These Eyes imprint, although for me it’s altogether a finer-tuned, more artisan offering, refined in taste and delicate in balance. Much slower and more melodic, almost Balearic in style, slightly wonky but carrying bags of groove – what you need to know about this release is it has feeling, stacks of soul and a nod back to the day when sweat dripped off the ceiling and onto the Technics.

‘Elka‘ is a growling bear of a track, riding through its underlying sinister analogue underpinnings it builds through layer upon layer of melody, synths, analogue, bassline, never really losing that all important momentum. When the melancholic piano kicks in at about 4 minutes I’m at Burning Man dancing beneath the stars with a thousand other galaxy exploring dropouts letting the bass shudder through my system. ‘Elka’ is epic in the most underground way.

‘Unreal Sun’ is a ride on a rollercoaster through a hot Californian day, it’s a car journey through the Stelvio Pass, a moment in time that changes your perspective. The off-kilter synths, the sub-bass, the undulating lead, it’s so simple, but oh all too much. These are the moments life is made for, living at its finest.

Yes Marc Romboy is a techno Stalwart, but this is surely his finest offering, left of field and pure in spirit. Miss this, you guessed it, at your peril. What a fine, fine offering and one of the best sleepers of the year for me.

Score: 9.5/10

Buy from Beatport here:

The post Marc Romboy – Elka EP (These Eyes) appeared first on Data Transmission.

Watergate Records are doing great things, by doing simple things. They release music from the DJs who do the business in the club, and why not? It seems not only sensible to stay close to what you know and love but also to promote the artists who they give a live platform, with recorded music.

If you’ve been to Watergate [Berlin] on a Thursday you’ll most like have heard Frankey & Sandrino supplying the soundtrack. It wouldn’t have been a million miles away from the bleepy deepness on the ‘Nova EP’.

There are three original tracks and one remix on the EP. All of them are firmly in the Frankey & Sandrino domain, but with some excellent variety. If you’re looking for homogonised tech-house get another place to look. Close your eyes and open your ears, this is diverse, bottom-rumbling house music.

The lead track ‘Chimes’ is not my favourite from the EP. I understand why it’s the lead track with its ear-worm melody and its ‘Plastic Dreams’ riff. I love the firing snares and rolling groove but the lightness of the melody doesn’t fit the Frankey & Sandrino darker sound.

‘Nova’ captures the essence that is missing on ‘Chimes’. Throbbing with bass, and drenched in analogue it’s deep groove personified. There are some cool treated percussion elements, that spiral up and down and lush arpeggios in the breakdown that give it some excellent movement. Don’t expect hands in the air, this is a worker track, all about the soul of the bleep and the bass of the groove.

‘Tiefschwarz’ turn in their usual quality production on their remix of ‘Chimes’. It doesn’t really gel until the breakbeat kicks in about half way through and pow, it takes off with a whizz and pop of rave and an underbelly of sub. A powerful remix.

Finally ‘Black Hole’ steals the show with a low-slung breaks track overflowing with lush strings, bleepy arpeggios and old-school snares. I’m transported to a rainy night in London driving through the back streets on the way home from a sweaty underground club. There’s a timeless element here, simple, unrushed, uncrowded. If being the last track on the EP keeps ‘Black Hole’ a secret I’m all for it, but surely this should have been the lead track.

Stellar stuff from Frankey & Sandrino. Long may they continue their bleepy, deep form.

Score: 9/10

Buy from Beatport here:

The post Frankey & Sandrino Nova EP (Watergate Records) appeared first on Data Transmission.