Andrew Soren and I launched Selector in June 2017 with a straightforward mission. We believed that electronic music deserved uncompromising journalism, reporting that strives for objectivity and adheres to a high quality standard. In time, we would flesh out a strategy to introduce such an editorial voice to the community we held dear.

Early in the COVID pandemic, a series of small victories gave us hope that we were on the right path. We reported on cultural flashpoints like Tourmanagergate and shone a light on superstar DJs gigging in more lenient countries. We introduced a music coverage series called Sounds that used blind rating panels to eliminate bias from our selection process, a concept I still believe holds a lot of merit. At the end of the year, we successfully registered as a 501(c)(3) nonprofit organization in an effort to eliminate the need for advertisers who could compromise our journalistic integrity.

We formally started fundraising in February of 2021. By March, our monthly revenue exceeded our monthly expenses, and by September, we recouped our startup costs. While we paid all of our writers as a matter of policy, the nonprofit was sadly still not bringing in enough money to compensate me — and I was working on it full time.

By November 2021, Andrew had departed, and I was the sole officer in charge of Selector. My savings dwindled to the point that I was forced to seek out writing and editing work elsewhere.

As far as I was concerned, this didn’t signal the end of the outlet. It simply needed to take the back burner while I focused on more pressing needs. We continued to publish articles — albeit less frequently — anticipating a time when we could devote more time and resources to a relaunch in earnest.

Three years later, the reason I’ve decided that it’s time to discontinue Selector is that if I were afforded such liberties today, I would no longer choose to build a platform like this one.

I still love electronic music dearly and maintain that it deserves true journalism. That simply does not mean the same thing to me that it did seven years ago. At that time, I bought into an underground dance music orthodoxy that, in hindsight, was anything but objective. At best, gatekeeping is silly and pretentious. At worst, it stifles what makes this ever-shifting creative frontier unique and special.

Much of the old guard clings to arbitrary ideas dictating what ought to constitute styles like techno, house, and jungle. These genres became so stratified in the first place because dance tracks are primarily tools made for DJs, meaning that the easier they are to mix together, the better they’ll sell. The tribal purism that now engulfs these descriptors works to their detriment, though. In a community that purports to embrace the future, countless artists paint themselves into infinitesimally small corners, resigning themselves to styles that I would argue have not evolved significantly for decades.

Make no mistake: I still believe in resisting the commercial influences that have long shaped electronic music’s evolution, and I personally prefer the more specialist flavors of almost all of its innumerable permutations. I can nonetheless admit that nothing new or groundbreaking is likely to emerge from them. Having studied the history of this movement at length, I assert that its most promising future innovators will almost certainly belong to a younger generation blissfully unaware of the intricate web of stigmas that bind those who came before them.

I have wondered countless times if Selector may have succeeded with one or two things playing out differently. What if we started earlier? What if we had a more streamlined website? What if I devoted more time to fundraising? There’s no way to know what combination of factors could have delivered the intended outcome.

What I do know today is that failure isn’t the worst thing that could have happened. I would loathe being stuck toiling away on a project that no longer aligns with my outlook, forced by audience capture to amplify the shortsighted perspectives my former self held.

That’s not to say I regret the time and effort I spent on Selector. I honed my editorial skills greatly by working on this media outlet; the experience I gained here has aided me immeasurably in other music and editorial endeavors. It also makes me proud that we provided promising writers with paid opportunities, and that we drew attention the works of undervalued artists.

I’m eternally grateful for the hard work and dedication of every collaborator on this project. To give credit where it’s due, it was Andrew’s idea in the first place — and for that matter, his strong editorial sense has informed my reporting since long before we worked together in any official capacity.

Our team of contributors were a major highlight for me. Cory Goldsmith was there at the very beginning, and Sky Stack also penned a few of our earliest pieces. Phil Scilippa, Saad Masood, Nick Yopko, Alex Dias, and Jeremy Howard did great work for us during the pandemic. The lattermost writer’s byline stayed active all the way through this year.

Jacob Stadtfelt, Ana Yglesias, Andy Macdonald, Andrew Wowk, and John Eperjesi all submitted content I was especially proud to publish on Selector. I also want to thank Ben Kreap, Evan Toutz, Kelvin Rodeo, Nicole Lopez, Umut Avialan, Dave Clarke, and Vincent Intrieri for their contributions.

I owe a similar debt of gratitude to all those who graciously donated to us over the years. I struggled with the reality that running a nonprofit required me to ask for money, but I was always moved by the generosity of the people who believed in our mission. There are too many to name, but Jeffrey Keenan, Christian Friedland, Mike Hymbaugh, Alexise Ramirez, and Jim McClain were among our biggest donors.

Lastly, thank you from the bottom of my heart for reading Selector. If you’ve enjoyed our reporting, I implore you to meditate on the ideas I’ve shared in my final piece and consider whether deprogramming any of your own attitudes on music could help you contribute more meaningfully to dance culture. Words hold power, and it behooves a community as introspective as ours to choose them carefully.

As for me, I don’t know what my next labor of love will look like. I’m nonetheless certain that concluding this one will free up the space I need to imagine such a presently nameless, shapeless idea.

Crate Digging is a monthly roundup of top-tier tunes you might have missed from across the electronic music spectrum. From obscurities uncovered during trips down Bandcamp rabbit holes to the latest releases from legendary artists, Crate Digging is here to keep your collection up to date.

Note from Andrew Wowk: This is the final edition of Crate Digging for Selector. Thanks to everyone who has followed the piece each month — I really hope you have enjoyed the selections and discovered some new artists and labels to follow! I will be looking to publish the piece elsewhere in the future. Until then!

1. Out Of Fuel – Kohti [Initiate Records]

Out Of Fuel goes deep with “Kohti,” an atmospheric drum and bass trip that eschews big, aggressive drops in favor of creating a subtle, unfurling soundscape punctuated by tight percussion and gritty low end.

2. not without friends – Loco [Rose Avenue]

No-nonsense, big room tribal house from not without friends. “Loco” is continuously propelled forward by thunderous drums, playful carnival-inspired percussion, and gnarly effects.

3. vakhtang gorgasali – queen’s loop [Self-Released]

Centered around a hypnotic, bleepy synth sequence and stripped-down percussion, “queen’s loop” sees Georgian producer vakhtang gorgasali demonstrating that you can do a lot with a little.

4. Dycide – Swamp [IO-Records]

“Swamp” lives up to its name, combining a rich blend of organic tribal elements with Dycide‘s futuristic, sci-fi-inspired sound design. This is the theme song of an ancient alien civilization from the outer reaches of space.

5. Lemon D – High Tech Souls [Infrared Records]

Veteran jungle producer Lemon D lands on longrunning imprint Infrared Records with “High Tech Souls” — a lush, soulful roller that’s equal parts delightful and deadly.

6. Mark Williams – Take My Love [Hardgroove]

Mark Williams ends 2024 on a high note, delivering his second EP for Hardgroove. “Take My Love” is quintessential Mark Williams and Hardgroove: Pounding low end, rugged percussion, funky melodic elements, and soulful vocal samples.

7. Sublee – Metime [RAWAX]

Sounding like it could have come right out of the golden era of progressive house, “Metime” is nine minutes of beautiful, subtle melodies, warm atmospheres, and classic drum grooves.

8. Jones&Roth – Schneller Chili Salat [W133]

“Schneller Chili Salat” is playful deep house that incorporates elements of electronica and chillout to excellent effect. Jones&Roth channel the spirit of Kruder & Dorfmeister for this vibrant, low-slung cut.

9. Missterspoon – Morgan [Self-Released]

Slow-burning, gnarly acid house from Missterspoon. A wonky 303 line snakes around crisp, analogue drums in “Morgan,” creating a twisted, infectious groove.

10. Skin Teeth – Caustic Soundboy [Torre]

You can never go wrong with a free download, especially from a label as consistently high quality as Torre. “Caustic Soundboy” from Skin Teeth is a raucous breakbeat banger ready to smash up sound systems.

Crate Digging is a monthly roundup of top-tier tunes you might have missed from across the electronic music spectrum. From obscurities uncovered during trips down Bandcamp rabbit holes to the latest releases from legendary artists, Crate Digging is here to keep your collection up to date.

1. Nathan Fake – Positive Education [Cambria Instruments]

Nathan Fake recreates Slam‘s anthem from the ’90s entirely from memory, producing his version without re-listening to the original for reference. “Positive Education” is a faithful reproduction of the original with a personalized, individual touch.

2. Superplasticfantastic – Panarus [Discos Sentimiento]

“Atlas” is an uplifting, energetic techno-meets-trance banger purpose-built for peak time dancefloors. superplasticfantastic balances punchy, driving rhythms with sparkling, lush melodies.

3. Jah Beer & Oddkut – Stepper Stout VIP [Self-Released]

Deep bass, gnarly effects and sharp, rapid-fire drums collide in this ode to sound system culture from Jah Beer and Oddkut. “Stepper Stout VIP” is pure, subwoofer-blowing goodness.

4. A² – Street Renegade [R.A.N.D. Muzik]

A posthumous dedication to Andy Panayi released under the production alias he shared with Alec Stone, “Street Renegade” is a warm, rolling breakbeat cut centered around a funky, filtered synth sequence and a tight, syncopated groove.

5. Cloaking Device – Bio-Mechanisms (2024 Rework) [Odysee Recordings]

Andy Odysee digs “Bio-Mechanisms” out of the back catalogue of tracks produced under his Cloaking Device alias and updates it for 2024. Slowing down the tempo and remastering the drums, he brings to the fore that funk and space that were lurking in the background of the original version.

6. Panama North – Signal Loss [New York Haunted]

“Signal Loss” is hard-hitting hybrid of techno’s structure and dubstep’s sound design. Panama North captures the tense, chaotic energy of current times and distills it into five minutes of gritty, percussive intrigue.

7. Beltrac – Digital Ecosystem [ONO Records]

Perth-based label ONO Records welcomes up-and-coming local artist Beltrac, who demonstrates his flair for lush atmospherics, intricate rhythms, and woofer-busting low end. “Digital Ecosystem” blends the energy of drum and bass with the experimentation of IDM to excellent effect.

8. Kangding Ray – OXID [ARA]

Two years after his critically acclaimed Ultrachroma album, Kangding Ray returns to ARA with a more dance floor-focused cut in the form of “OXID.” The track retains his otherworldly, hypnotic aesthetic and experimental sound design but  incorporates it into a more rhythmic, rolling techno framework.

9. Loxodrome – Fornax A [Cyphon Recordings]

Jamie Odell revives his Loxodrome alias three decades after his seminal self-titled release on Jumpin’ & Pumpin’. The man otherwise known as Jimpster takes the core components of his soulful, warm and melodic deep house sound, exploring them from the perspective of electro and IDM in “Fornax A.”

10. Temudo – Ilum [Sublunar Records]

Deep, spacious machine funk from Temudo. “Ilum” balances reverence for techno’s history with a view to embracing its future, yielding a track that has a timeless aesthetic without sounding stuck in the past.

From obscurities uncovered during trips down Bandcamp rabbit holes to the latest releases from legendary artists, Crate Digging is here to keep your collection up to date.

1. Biemsix – The Payback (James Ruskin Remix) [Symbolism]

U.K. veteran James Ruskin remixes “The Payback” by Biemsix, keeping the original’s psychedelic, moody atmosphere intact, while adding some energy and funk in his inimitable style. Dance floor-ready machine funk at its finest.

2. Cinthie – Mellifluous [803 Crystal Grooves]

The first release on 803 Crystal Grooves in over two years, “Mellifluous” sees label head Cinthie drop a smooth, feel-good deep house cut that encapsulates her extensive knowledge of the history and key elements of the genre. Lush chords, shuffling drums, and a bumping bassline make this feel like an obscure B-side from a forgotten New York record label.

3. Aserr​í​n – Memories of Green [Pan-Am Tracks]

Aserr​í​n explores electro’s close ties with science (real and fictional) in “Memories of Green,” a heady, leftfield journey through sparkling melodies, glitchy effects, and otherworldly atmospheres to explore the concept of signal propagation and how it mediates the world around us. A great example of how a strong concept can add extra value to a great piece of music.

4. bluhol – Light and Shade [Oomycota]

“Light and Shade” lives up to its name with a psychedelic trip through contrasting elements. The debut release from Sydney/Eora-based label Oomycota sees Loïcc reinvent themselves as bluhol to explore the interplay of organic and synthetic through immersive soundscapes and creative use of modular synthesis.

5. FTP Doctor – Discomfort Dance (Dycide Remix) [IO-Records]

Dycide‘s remix of “Discomfort Dance” by FTP Doctor blends elements of techno, drum and bass, dubstep, and electronica into a melting pot of bass-heavy rhythms. Gnarly, up-tempo percussion and glitchy sound effects urgently bounce along above low-slung, speaker-shaking beats.

6. Llyr – Pareidolia [Mesh]

Immersive, densely-detailed breakbeat which reflects Llyr‘s flair for combining cinematic sound design with dance floor-ready grooves. “Pareidolia” gives a nod to the meaning of its title by subtly changing the melodic patterns and sequences throughout its runtime, adding a lot of re-listening value.

7. HVL – Lancet Mxi [Reclaim Your City]

“Lancet Mxi” combines thunderous breakbeats, gritty sound design, and melancholy melodic sequences to create a forlorn soundscape with a surprising amount of punch. HVL explores the intersection between dance floor functionality and hypnotic introspection to excellent effect on this one.

8. Josh Wink – Progression [Ovum Recordings]

Written on a flight from San Franciso to Philadelphia, “Progression” continues the 30th birthday celebrations of Josh Wink‘s Ovum Recordings. A captivating, ten-minute odyssey, it takes the listener through a heady, soulful blend of bleeps, beats and soaring pads.

9. Debasser – Gem [WIDE Records]

“Gem” is a unique, minimalist take on future garage, combining Debasser‘s signature bass-driven sound with quirky glitches, fluttering melodies, and shuffling drums.

10. IDA – Currents [Sävy Records]

Sitting comfortably in the space between techno, electro, and breaks, “Currents” is a rolling, gritty cut with touches of dusty, swirling melody. Ida draws on her eclectic taste to present a club-focused track with heart and intelligence.

11. Dubfire & Flug – Magma [CLR]

Dubfire releasing on CLR was most definitely not on my 2024 bingo card, but this collaboration with Flug is an incredibly welcome surprise. “Magma” is a dark and driving interpretation of the classic dub techno sound that plays to each of its creators’ strengths.

12. Ross Harper – Knocked Back Hard [City Wall Records]

“Knocked Back Hard” is a psychedelic, mechanistic take on downtempo electronica, inspired by Ross Harper‘s tantric stories about a character known only as Ambient Girl. Although it’s comprised entirely of synthetic sounds, it uses them in a way that feels organic and natural.

13. Shlomi Aber & Kashpitzky – Rust [Blueprint]

Reminiscent of some of James Ruskin‘s best work, it’s no surprise that “Rust” was released on his label Blueprint. It sees Shlomi Aber and Kashpitzky deftly weave melancholy pads between tough, driving percussion and round, punchy bass.

14. Sun People – No Fear No Hope [Defrostatica]

Austrian producer Sun People continues to explore cross-genre pollination, this time finding a soulful and playful nook in between footwork, jungle and techno. “No Fear No Hope” is the uncategorizable kind of 160bpm track that showcases how fruitful the tempo is for experimentation.

From obscurities uncovered during trips down Bandcamp rabbit holes to the latest releases from legendary artists, Crate Digging is here to keep your collection up to date.

1. Insolate – The Day Will Come (Deniro Remix) [Arkham Audio]

Deniro‘s remix of “The Day Will Come” retains the hypnotic, staccato bass line and percussive rhythms of Insolate‘s original, while adding warmth and soul with lush, filtered pads. Eyes-closed, heads-down business for the early hours of the morning.

2. Dan Piu – Whispers Of Goodbye [Deep Inspiration Show Records]

Sounding like something unearthed from a batch of lost Detroit techno demos, “Whispers Of Goodbye” is actually the latest cut from Zurich-based Dan Piu. Blending sparkling synth sequences, charming chords, and tight, subtle drums, it’s a fine nod to the roots of the genre.

3. Unklevon – Science Club [Boysnoize Records]

Unklevon offsets crisp, robotic drums with gritty synths and a deep, eerie vocal on “Science Club.” The result is dark, four-to-the-floor electro from the dystopian future.

4. Sun People – Runaway [Candy Mountain]

Multi-genre maverick Sun People returns with another mutated hybrid of electro, techno, dub and footwork. “Runaway” is centered around a mechanical, syncopated groove comprised of chirpy percussion, quirky effects, and a gnarly bass line, occasionally joined by urgent synth stabs and off-kilter chords.

5. Aposematism – Stepper [Backpocket Slammers]

Organic meets synthetic in “Stepper,” a heady, minimal, half-time trip. Aposematism takes the drum and bass staples of dubbed-out vocal samples and a rolling low end and combines them with glitchy, heavily effected nature sounds and razor-sharp techno drums.

6. Bruecke – Sketch [W133]

Bruecke utilises subtle sounds for the basis of “Sketch” but combines these elements into a powerful finished product that infuses percussive, broken beat techno with dub sensibilities.

7. Orlando Voorn – Needs [Self-Released]

“Needs” is an energetic, irreverent deep house jam from Dutch mainstay Orlando Voorn. Chopped-up vocals, looped pianos, echoed samples from old soul records, and rugged percussion sounds play off one another in a call-and-response style. They’re all slightly off the grid to give the track a wonky, organic feel.

8. Bl​â​me – Delicious [D​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​é​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​lices du Midi]

Low-slung, stripped-down rhythms from Bl​â​me appear on the latest D​​​​​​​​​​​​​​​é​​​​​​​​​​​​​​​lices du Midi compilation. “Delicious” only needs well-programmed drums, deep sub bass, and some trippy effects to create an inescapable groove.

9. Elsa – Peanut Dust [Common Ancestors]

Exploring the more psychedelic side of bass music, Elsa utilizes trippy soundscapes, wiggly percussion, and a thick bass line on “Peanut Dust” to merge the playful with the heady.

10. Japp Beats – Rhythm Blaster [Planet Rhythm]

Sometimes all you need is an aggressive bass line, some hardcore rave stabs, and a catchy vocal hook. Unashamedly dance floor-focused, “Rhythm Blaster” from Japp Beats is an electro-breaks jam written for big sound systems and sweaty dance floors.

From obscurities uncovered during trips down Bandcamp rabbit holes to the latest releases from legendary artists, Crate Digging is here to keep your collection up to date.

1. The Southern – Consciousness [CLR]

The Southern lands on CLR with gnarly, bass-heavy broken techno that hits full-throttle early on and never lets up. “Consciousness” blends dystopian sound design with bone-crushing drums and warped acid sequences.

2. Andrey Sirotkin – Kyiv-Lviv Express [Vyrii Records]

Ukrainian veteran Andrey Sirotkin layers lush, dusty chords over shuffling beats and sharp percussion on “Kyiv-Lviv Express” to create a tunneling groove aimed squarely at the dance floor.

3. Ana Antonova – Can’t You See [Form & Terra Records]

“Can’t You See” harks back to the golden era of tech house, with its warm, melodic lead and precise, mechanical drums.

4. Emmanuel De La Paix – Ekkos [Seven Scales Records]

Inspired by the rugged beauty of nature and the unique perspectives that digital image editing can create, “Ekkos” sees Emmanuel De La Paix combining soaring synths with distorted guitar drones, exploring the overlap between organic and synthetic.

5. Plaster – Lazy Tongues [Pyteca]

One of the final pieces of music written before Plaster sold his Roland SH-101, “Lazy Tongues” is a mostly improvised, low-slung IDM trip into the acid zone.

6. Hurdslenk – False Pretence [Hardgroove]

“False Pretence” is rugged, peak-time techno from Hurdslenk. The U.K.-based producer centers the track around a spiraling, dubby lead and crunchy percussive loops, making it a perfect fit for Ben Sims‘ label, Hardgroove.

7. Desinformant & Hedchef – The Perennial Question [Feed The Void]

Naarm (Melbourne) producers Desinformant and Hedchef team up on “The Perennial Question,” a devastating U.K. bass cut with razor-sharp, stuttering beats and LFO-modulated, overdriven bass.

8. Mike Nasty – Mind Made Up [Nasty Tracks]

Proper, soulful house from New York’s Mike Nasty. “Mind Made Up” is a delightful, jazzy journey through sultry vocals, fluttering pianos, and a welcome surprise in the form of a flute solo.

9. Head Front Panel – Surdo [Dark Machine Funk Recordings]

John Heckle dons his Head Front Panel alias for “Surdo,” balancing light and dark elements by combining rolling percussion with hypnotic pads and a big, funky bassline.

10. Dominic Capello – Not For Instagram DJs [Alien Communications]

“Not For Instagram DJs” is just one of many highlights on Sub Club resident Dominic Capello‘s debut album. True to its name, this is an expansive, slowly unfurling journey with a meticulous attention to detail that rewards patient listeners.

11. Mark Williams – All About The Bass [Music For Change]

Veteran techno producer Mark Williams takes his sound into new territory with “All About The Bass.” His trademark crisp percussion and tightly controlled melodic elements are still present, but they’re twisted into a more melancholy and hypnotic form than in his previous work.

12. Pugilist – Destructor [Self-Released]

Gritty, cross-genre pollination like only Pugilist can deliver. “Destructor” is a unique blend of the sound design typically present in techno and conventional garage or 2-step arrangement, with the end result being more than the sum of its parts.

13. Bassbin Twins – Tuff 125 [Bassbin Beats]

Big, brash, mid-tempo breakbeat from one of the best sample hunters in electronic music. Absolutely chock full of obscure samples and reworked classic breakbeats, “TUFF 125” is quintessential Bassbin Twins.

14. POD & Tamen – Uma [Straight Up Breakbeat]

“Uma” is a raucous yet intelligent slice of jungle from POD and Tamen. Fluttering, trancey synths and washed-out chords are layered over rugged, chopped-up breaks and massive sub hits, creating an engaging interplay of light and shade.

Moog’s move will also have them operating above popular café and record press Citizen Vinyl.

Moog also plans expansion of its factory in Weaverville, a short drive north of Asheville. According to a Citizen-Times interview, expanding “will enhance assembly and warehousing capabilities and is more convenient for staff who build the synthesizers.”

Asheville Citizen-Times Building, the new home of Moog Music Inc. Image credit: Warren LeMay

About Moog Music

R. A. Moog Co had its start in 1952 by Robert Moog and his father. It was later rebranded as Moog Music in 1972. Devices like the Moog (the first commercial synthesizer) and the Minimoog are notable as the world’s most influential electronic instruments.

Alongside synthesizers, Moog creates apps for many different computing platforms and devices.

Music enterprise inMusic purchased Moog in June of 2023. The acquisition laid nearly 30 workers (of a team of 90), some who are responsible for building the instruments by hand. 

Find more information on Moog’s website. 

Custom transformer circuitry in the euphonia by Rupert Neve Designs adds what AlphaTheta calls “harmonics to the music.” The four-channel rotary mixer’s circuitry also boasts a high signal output, with 32-bit D/A and A/D converters.

Its output also uses 96khz/64-bit floating point and AlphaTheta’s proprietary DSP mixing operations. A “Boost Level” switch adjusts the volume level of each frequency band by 0dB to +12dB, depending on the users preference.

Unique Faders and Weights

The near black-finish mixer is slightly larger but similar-looking than its E&S and Bozak competitors, coming standard with four large rotary faders. Each copper fader comes with vibration-absorbent elastomer knobs for smooth volume control. The “3Band Master Isolator” knobs atop the mixer control the cutoff and slope of the master frequencies.

Special weights are also built into each fader knob, as the AlphaTheta site explains:

“When you turn [the fader] at different speeds… a smooth [weight] load is applied when you turn a knob slowly for delicate fine-tuning… a limited load level is applied when you turn a knob quickly to instantly reach your intended volume level.”

The euphonia’s “Energy Visualizer” digital display carries a spectral analyzer and “4-needle” VU Meter, showing a meter for each channel.

Send Effects and Boost Send

Send effects on the euphonia include Delay, Tape Echo, Echo Verb, Reverb, Shimmer, and HPF (high-pass filter).

These effects are accessed via a send button for each channel, with send/return inputs for external devices. A mechanism controls the clicking on Delay, Echo and Echo Verb effects, setting to its specific parameters on the display. Alternatively, the knob will stop clicking and turn smoothly when Reverb or Shimmer is selected, based on non-BPM parameters.

The “Boost Send” feature also pairs with the 3Band knobs. Using the Boost Send button adds effects to the low, mid and high bands, allowing for one-handed effect and EQ control.

Pricing, Additional Support and Availability

The euphonia costs $3,799 and is available now.

Serato DJ Pro and rekordbox software support is available for the euphonia mixer.

For Serato DJ Pro, support is available now via a paid upgrade. Find more information and download Serato on their website.

For rekordbox, a Core, Creative or Professional plan ($10-$30/monthly) is available to access the DVS support feature for the euphonia. Find out more information on AlphaTheta’s website.

Four layers — drums, bass, melodies, and vocal elements — can be split via MPC Stems. Akai Pro states each layer processes out with little to no artifacts in the processing. 

The process of extracting stems in MPC Stems is simple: Load or record a sample and then press “Create Stems.” Selected audio from the four separation layers are then ready for use inside MPC software. 

Volume, Pitch and Pan are available, either working individually or linking across each stem layer for simultaneous parameter control.

From there, Akai’s MPC environment with audio editing, automation and more is ready to use. Each stem separated will keep its separated regions on the MPC pads, even after editing. 

Additionally, any stem software separation done on an MPC Desktop is transferrable to a standalone MPC device. 

Pricing and Availability

MPC Stems costs $9.99 from the Akai Pro store.  The app works with MPC 2 Desktop Software version 2.14 and above. MPC Beats is not compatible with the stem separation software. 

MPC Stems is currently not available for Standalone mode. Stem separation capability nonetheless works for the following products in “Controller Mode”: MPC Live Series, MPC One, MPC One +, MPC X, MPC Xse, MPC Key 61, MPC Key 37, and MPC Studio Mk2.

Find more information and purchase MPC Stems on Akai’s website.

This edition focuses on hard techno, a faster, more intense, and sonically heavier evolution of techno that emerged in the ’90s and peaked in popularity at the turn of the millennium thanks to artists such as Miss Djax, Mike Dearborn, and Chris Liebing.

Combining the distorted and crusty sounds of hardcore and industrial with the funk and rhythm of techno, hard techno is a unique hybrid that, although on the surface is considerably more brutal than the genre from which it evolved, is also a lot funkier and groovier than hardcore and its offshoots. While the style has had diehard enthusiasts since its inception, the explosion of minimal in the mid-to-late 2000s and then tech house in the early 2010s saw hard techno’s popularity wane considerably. However, post-pandemic, it has truly returned in a big way.

That being said, much of the newer music being called “hard techno” is closer to hardstyle and hardcore than its namesake. Although it certainly has the aggressive distortion and punishing tempos of those genres, it lacks the all-important funk and groove of techno, often replacing it with the catchy vocals of Eurodance and abrasive synths of hardstyle.

With this in mind, Hot Track Time Machine is here to honor the artists and labels who have stayed true to the ethos and aesthetic of hard techno. Read on for a list of bangers you may not have heard from the earliest days of the genre’s inception to the contemporary tracks staying true to the sound.

1. Missing Channel – Whirlpool [Hardwax] (1992)

Although Detroit is typically associated with the more soulful, melodic side of techno, a number of key players in the city were also pioneers of its harder offshoot. In fact, “Whirlpool” by Missing Channel (comprised of Claude Young and Robert Hood) could lay claim to being one of the first-ever hard techno records with its swirling, sinister synth loop and chaotic, rugged drums.

2. Robert Armani – Ambulance Two (Bonzai Remix) [Music Man Records] (1994)

Artists from Chicago, a city with a rich history in house music, unsurprisingly leaned heavily on the funk when they started experimenting with hard techno. Robert Armani took the jacking, raucous attitude of early acid house and put it into overdrive, upping the tempo, distorting the drums, and using more aggressive synth sounds. This approach is especially evident on “Ambulance Two,” which gets an even more intense reworking on the “Bonzai” remix.

3. Mike Dearborn – Moments [Djax-Up-Beats] (1995)

You can’t talk about hard techno without acknowledging the vital role Djax-Up-Beats has played. The label originally released more traditional acid house sounds. As techno reached Europe and artists in countries such as Germany and the Netherlands infused it with the sounds of popular rave genres such as hardcore, Djax-Up-Beats took its place at the forefront of the movement. In turn, it influenced the American artists from which it took inspiration. While “Birds On E” was the big tune from Mike Dearborn‘s album Moments, the title track is an underappreciated gem which is a great example of the cross-pollination between U.S. and European vibes.

4. Tim Taylor and DJ Slip – Pleasure Unit [Missile Records] (1997)

Minneapolis became (and still is) a location where the harder, faster side of techno thrived, and artists such as DJ Slip played a big part in this with tracks like “Pleasure Unit.” His collaboration with Missile Records owner Tim Taylor is pure Midwest hard techno: gritty, distorted and funky, with inventive sound design and clever use of samples.

5. Magnum Force – .44 Calibre [Stay Up Forever] (1998)

Unsurprisingly, with how readily the U.K. embraced the acid sound, when hard techno started to proliferate throughout the country’s squat party community it was focused heavily around pushing that delightful silver box, the TB-303, to its absolute limits. London’s Stay Up Forever collective had plenty of hits, but “.44 Calibre” is a criminally underappreciated gem from the catalogue. D.A.V.E. The Drummer and D.D.R. layer acid on top of acid (on top of acid) in a relentless, driving melting pot of energy.

6. Pounding Grooves and Ignition Technician – Muthafucka [Fine Audio Recordings] (2000)

Pounding Grooves is one of those artists that delivers exactly what his name promises. “Muthafucka” combines his straightforward, thumping, heavily-compressed sound with Ignition Technician‘s playful, booty/ghetto-tech-inspired beats to excellent effect. The result is tastefully distorted, crunchy goodness.

7. The Anxious – Menace [Compound] (2001)

The early years of the new millennium saw a more percussive, densely layered style of hard techno emerge, with U.K. artists such as The Anxious (comprised of Mark EG and Chrissi) maintaining the freight train intensity of the genre while taking influence from the groovier, tribal techno sounds that were growing in popularity. The result was tracks like “Menace,” a hard-as-nails groove that feels like a guided tour through a psychedelic steel mill.

8. D.A.V.E. The Drummer vs. Blackout Audio – Hydraulix 16A [Hydraulix] (2002)

This one is all about the vocal. Blackout Audio (an alias of The Anxious) lay the foundation with thumping, heavily mechanized beats and a rolling bassline, with D.A.V.E. The Drummer adding gnarly percussive hits and metallic washes in between a looped vocal chock full of attitude. Professional ass whippin’!

9. Glenn Wilson – Sentinel [Heroes] (2002)

When it comes to U.K. techno icons, they don’t come much more prolific than Glenn Wilson. Released on one of his many record labels, “Sentinel” does not waste time with nonsense like gradual progression or subtlety. Instead, it begins with a distorted percussive rhythm and grungy bass line that does not let up even just once, adding additional layers of tense synths and chord stabs as it continues.

10. Andreas Kauffelt – Bassquake [PV] (2002)

“Bassquake” is one of those tracks that rewards a patient listener. Its first half is a simple (albeit effective) slamming loop comprised of tight percussion and an off-beat, bleepy synth sequence. But then comes the breakdown, and one the most obscene bass lines in electronic music history, which Andreas Kauffelt modulates and tweaks in increasingly wild ways when the drums kick back in.

10. Wyndell Long – Chicago MF [Pro-Jex] (2002)

Pro-Jex was at the forefront of the variant of hard techno which took influence from ghetto tech and booty, releasing anthemic bangers from the likes of DJ Funk, DJ Rush, and Frankie Bones. Although it may not have received the same kind of widespread success as tracks by those artists, “Chicago MF” is in a lot of ways a more pure representation of the Pro-Jex aesthetic. Wyndell Long loops an aggressive vocal refrain over thunderous, distorted drums and funky synth sequences, only briefly taking his foot off the gas for a short breakdown before it’s back to business.

11. Stigmata – Samael [Stigmata] (2003)

Taken from their final release before Stigmata (André Walter and Chris Liebing) went their separate ways, “Samael” is the pinnacle of the duo’s discography. The gritty, industrial aesthetic typical of German hard techno is evident, but it is blended with the rolling, percussive edge more commonly found in U.K. artist’s work. It’s an excellent bridge between two unique approaches to hard techno.

12. Guy McAffer – Hammond Chips [RAW] (2005)

Who said hard techno can’t be creative and take risks? Guy McAffer delivers a cheeky slammer that puts a heavily distorted, bouncy Hammond organ solo at the forefront, backing it up with a tough, rolling groove. It’s absolute silliness in the best way possible.

13. Miss Djax – Sick Of U (DJ Rush Remix) [Djax-Up-Beats] (2005)

When it comes to fast, jackin’ hard techno with a tongue-in-cheek attitude, they don’t come much better than DJ Rush. His remix of “Sick Of U” by Miss Djax pitches the original version’s vocal down several octaves, cutting it up and layering snippets of it over a bulldozer of a bass line and pounding drums with just the right amount of swing.

14. Robert Natus – To The Beat [Inflicted Records] (2008)

Schranz, a type of hard techno characterized by its even higher tempos, even greater amounts of distortion, and a minimalist, loop-based approach to arrangement, is one of those hyper-specific scenes that exploded in popularity, but also stagnated stylistically just as quickly. That being said, every now and then a track like “To The Beat” would come along, injecting something fresh and unique into its repetitive structure. Robert Natus throws a curveball with this track, waiting until nearly half way through an otherwise fairly standard schranz loop to add a funky, playful bass line and lots of clever drum edits.

15. Tik Tok and Brentus Maximus – Delusional [Corrosive Records] (2015)

The driving, euphoric acid sound pioneered by the Stay Up Forever crew lives on thanks to labels such as Corrosive Records. “Delusional” by Tik Tok and Brentus Maximus is a loving tribute to London squat party vibes with its multiple layers of overdriven TB-303 sequences and tight, steady drums.

16. Gunjack – Random Axis Jack (The Preacher Remix) [U.K. Executes] (2017)

Gunjack is the definition of an unsung hero. A hardware enthusiast who has been releasing high-quality music across various genres for over two decades, his steadfast adherence to the ethos of “I just make music that I like” is the main reason for his longevity. The Preacher‘s remix of “Random Axis Jack” combines the sort of sound design and synth work more often found in industrial techno with a quintessential hard techno drum groove.

17. ISN – Art Cannot Be Killed [SCHUBfaktor Music] (2018)

Italy’s ISN delivers some modern schranz that stands out from the pack. “Art Cannot Be Killed” incorporates a simple, but effective, synth loop and lots of breaks and edits to keep the rhythm from getting stale, which is the most common pitfall of the style.

18. 14anger and Dep Affect – Portable Persecutors [Call Of The Void] (2020)

One of the darkest, grimiest tracks of the last few years, “Portable Persecutors” proves there are still artists out there like 14anger and Dep Affect who are willing to push the creative boundaries of hard techno. While each of the individual sounds in the track aren’t necessarily new, combining them into a single track definitely is. This is a brilliant mix of rollicking drums more commonly associated with jacking house, a huge, growling bass line one would typically find in EBM or electro, and eerie chords reminiscent of the best darkwave tracks.

19. Unconformist – The Brain [Mätäsism] (2023)

It’s almost impossible to avoid the influence of old rave sounds in modern hard techno at the moment, and a lot of the time the references are quite stale and uninteresting (I’ve lost count of how many times I’ve heard that synth stab in completely unaltered form in the last year). That is absolutely not the case with “The Brain,” though. Unconformist takes elements of early hardcore and dark industrial, re-contextualizing them in a modern way to create a heavy, peak-time stomper that also has appeal beyond the hard techno realm.

20. Patrick DSP – Cutting In [Interruption Records] (2023)

Pounding, mechanical, percussive vibes live on! While a lot of contemporary hard techno artists are trying to outdo each other with who can make the most distorted pseudo-hardstyle, the likes of Patrick DSP are staying true to the genre’s ethos. “Cutting In” is a relentless, sinister roller that never lets up, adding layers upon layers of rugged percussion as it progresses to create a thick, tightly packed rhythm joined by creepy atmospherics and metallic synth stabs.