
Ukrainian producer Yan Cook hits hard with a third follow up EP on Delsin’s Inertia series. Once again a lethal pack of four to the floor techno weapons.

Ukrainian producer Yan Cook hits hard with a third follow up EP on Delsin’s Inertia series. Once again a lethal pack of four to the floor techno weapons.

Delsin’s Inertia series are back. The floor focussed offshoot welcomes German DJ and producer Lennart Wiehe. Bringing groovy roughness and warm yet forceful driving techno finished with some kickdrum heavy beat pounders, it’s an effective pack of dancefloor goodness.

Ukrainian producer Yan Cook steps up for his second EP in a row on Delsin Records’ Inertia series, the dancefloor focussed offshoot that is running since 2011. He now brings his trademark spangled techno back to the label where he appeared for the first time in 2012. Once again it’s sub shaking and room filling techno madness, shuffling percussion and rippling grooves made for the big floors and smokey warehouses.

Delsin Records’ Inertia series is back with a powerful four tracker from Yan Cook. The producer from Ukraine has also released Delsin’s main label and associated Ann Aimee. He makes straight up techno that arrests your attention and does just that again here. ‘Toucan’ is first and is a spangled, underwater techno track with gurgling lines wrapping round shuffling percussion and insistent drums. It’s one to get into your head, while ‘Puffin’ is more physical, with more warped synths and paddy drums woven together into a fluid, rippling groove that never lets up. The drums on ‘Dialogue’ are deep and land with real resonance while dubby chords rattling out to the horizon. Last of all ‘Flamingo’ is the most manic of the lot, with hi speed synths and booming drums all coming together to make for powerful, sub shaking and room filling techno madness.

The Inertia sub-arm of Dutch label Delsin is back. Inertia-5 introduces Discrete Circuit with a fierce three track EP. Connecting Berlin with Detroit, their EP kicks off with ‘Machine Code’, a frazzled techno cut with bleeps and alarms, sirens and rusty synths that all make for intense listening. On the flip ‘Recursive Descent’ is even more unhinged, with a see-sawing, saw-tooth synth line ripping up frantic hits and loopy drums and getting right into your brain as it does so. ‘Compiler’ is a more subtle, stripped back and seductive techno roller with supple synths undulating above rooted, rubbery kicks and woodpecker like percussion.

The final hurrah for Ann Aimee’s Inertia compilation sees four modern techno heavyweights add their exclusive sounds to the fold. Skudge are as economical yet efficient as you’d expect with their booming ‘Pollution,’ before Conforce designs yet more lush sounds with his deep technoid cut ‘When It Appeared.’ Restless Romanian Cosmin TRG confounds expectationst again with his rusty, rolling cut ‘Plaisir Interdit’ before Sascha Rydell gets a little spaced out on his kinetic and melancholic effort, ‘Rainy Days’.

This third EP offers up four brand next and exclusive techno cuts, take straight from the Inertia compilation Ann Aimee have proudly compiled. Things open with the dark, skipping beats of Lucy, before Milton Bradley layers plenty of filter and reverb over a kicking beat for his textured effort, ‘Sequence 1’. Mike Dehnert, contributes some ravey techno loops in the form of ‘Pneumatic’ before the EP is brought to a close with some gray-scale bleakness from Ozka.

Part two of the four-part Inertia sampler again serves up four heavy-hitting techno bangers from different artists of the new-school techno generation. First up is Frenchman Marcelus who offers a heavy house and techno fusion, before London’s Sigha goes deep and ominous. Redshape and Area Forty_One close out the package with frozen, static coated sounds and textured techno respectively.

The first of 4×4 vinyl releases from the Ann Aimee compilation, Inertia. This opening volume includes cuts from Delta Funktionen, Peter Van Hoesen, Roman Lindau and Sawlin. Delta Funktionen goes deep and dramatic, Peter Van Hoesen offers up his usual dub-wise textures, whilst Lindau pairs icy hi-hats with a heavy stomping beat. Sawlin offers the trippiest techno with his delightfully disheveled ’Excipidial’ and closes out what is an essential.