This release is a special one for me.

When I finished the original track a few months ago, I immediately had the idea to have it reinterpreted by a select group of people.

EASTMYND is a producer friend of mine from the Düsseldorf area (originally from the UK) who delivers a wonderful minimal version of the track with his remix.

PTTY is a fellow German producer based in Erfurt who has developed his own unmistakable signature sound over the years. His version flows beautifully toward deep house.

Ian Oskadev lives in Prague and has already made a name for himself with releases on labels like RAWAX. His remix adds a striking vocal sample to the original and features a driving groove.

The whole thing was a really fun project, because not only do these three make great music, but they’re also just really nice people with whom I enjoy discussing music.

As with all my releases, the EP was mastered by the one and only Perla Audio.

Der Beitrag Magasine – In A Minute EP (incl. Remixes) erschien zuerst auf Magasine.

In addition to discovering new vinyl releases, I regularly browse Discogs to unearth old treasures.

This generally applies to many genres, but lately especially to minimal.

In doing so, I’ve noticed how timeless and great the Cadenza releases from 2007 to 2010 sounded in particular.

Musically incredibly diverse and exciting. Plus, the sound quality was top-notch.

Because I find this era so fascinating, I’d like to highlight 10 releases from that time in this article:

01/ Andomat 3000 & Jan – L Delay / Frost

Release Nr: Cadenza 15

Year of Release: 2007

Favorite Track: Frost

What I like about this release:

Thanks to its syncopated bassline – which sounds almost like a double bass – “Frost” delivers an incredible drive right from the very first bar. Over this foundation, a variety of drum and percussion patterns unfold, keeping this minimal track engaging right through to the end.

02/ Argenis Brito – Micro Mundo

Release Nr: Cadenza 16

Year of Release: 2007

Favorite Track: Disconet

What I like about this release:

“Micro Mundo” is an entire album that has a truly minimalist feel to it. The tracks are stripped down to the bare essentials. My favorite is the driving “Disconet,” whose catchy main motif slowly but surely works its way into your ears.

03/ Alejandro Vivanco – Madre Tierra

Release Nr: Cadenza 18

Year of Release: 2007

Favorite Track: Lemon Lab

What I like about this release:

Alejandro Vivanco’s “Madre Tierra” is a real stylistic mix, with three very different tracks. The EP starts with the atmospheric and techno-inspired “Lemon Lab.” “Dissolved” is a slow burn, and it definitely lives up to its title. The title track, on the other hand, is all about melody and harmony, and takes more than 12 minutes to develop the motifs presented.

04/ Reboot – Be Tougher / Letters

Release Nr: Cadenza 24

Year of Release: 2008

Favorite Track: Letters

What I like about this release:

As early as 2008, Reboot demonstrated his talent for percussion-driven tracks with a massive low end. In “Letters,” intricate layers of percussion and sub-bass drive the groove until, halfway through the track, a classic Minimoog bass sound combined with exotic-sounding choir vocals gives the composition a new character.

05/ Michel Cleis & Salvatore Freda – Uva Fragolina

Release Nr: Cadenza 32

Year of Release: 2009

Favorite Track: Sassicaia

What I like about this release:

This 2-track release features “Sassicaia,” an impressive track that captivates listeners with both its rich, full low end and its multi-layered organic percussion sounds. Over this foundation, an organ-like sound meanders along cheerfully.

06/ Ernesto Ferreyra – Siluetas

Release Nr: Cadenza 33

Year of Release: 2009

Favorite Track: Caleza

What I like about this release:

While the opener “Hunter” sets off a fireworks display of percussive sounds, “Caleza” captivates with its bouncy groove and a synth line that dances lightly over it.

07/ Luciano & Guy Gerber / Lee Van Dowski & Glimpse – Versus

Release Nr: Cadenza 36

Year of Release: 2009

Favorite Track: Arcenciel

What I like about this release:

“Arcenciel” is a collaboration between label founder Luciano and Guy Gerber, built around a hypnotic melody that rises and falls. As the groove rolls on unwaveringly, the main theme shines in ever-changing light over the course of more than 11 minutes.

08/ Cesar Merveille & Pablo Cahn-Speyer – Descarga

Release Nr: Cadenza 39

Year of Release: 2009

Favorite Track: Tribute

What I like about this release:

“Tribute” features a wide array of sounds, ranging from organic drumming and percussion to a variety of brass sounds. This acoustic medley is topped off with atmospheric Spanish chatter.

09/ Mendo – Remember

Release Nr: Cadenza 41

Year of Release: 2009

Favorite Track: 1992 – original mix

What I like about this release:

This record is my favorite of all the Cadenza releases featured here. That might be because it also has a good dose of house mixed in. Both tracks are really strong and absolute peak-time killers.

10/ Pablo Cahn / Cesar Merveille – Split EP

Release Nr: Cadenza 53

Year of Release: 2010

Favorite Track: Pablo Cahn – Elle

What I like about this release:

Both tracks are great, but Pablo Cahn’s “Elle” is simply another peak-time banger that unleashes its explosive power over the course of 11 minutes. Alongside driving chords and atmospheric vocal samples, a saxophone riff takes on the role of the driving force. An incredibly energetic track.

Der Beitrag Cadenza: The Golden Years (2007-2010) erschien zuerst auf Magasine.

Recently, I’ve seen more and more artists from different art forms complain on Instagram about how social media has become a treadmill.

In the words of this painter:

Artists aren’t tired of making art. Artists are tired of all the extra shit. The need to explain. The need to post. The need to be visible. The distorted little dance of trying to remain authentic to the art, while turning yourself into a visual snack people quickly consume between stops on their scroll roll.

In this article, I’ll explore – from the perspective of a house and techno producer and DJ – how to get people to notice your music these days without burning out.

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Why social media is an uneven playing field

In a post titled “The Algorithm Is Killing Art,” this India-based singer highlights an interesting point.

She states:

Artists today compete with content creators. The algorithm is forcing artists to compete on a treadmill designed for 15-second attention spans with content creators who can churn out content at a rapid speed.

Which means that people whose primary occupation is creating content set the standards for everyone else seeking visibility in an overcrowded marketplace.

It’s an uneven playing field for artists to compete in because most of their time should be dedicated to creating art and not “content”, right?

She continues:

Quantity is more important than quality. Algorithm rewards accounts posting many times a week. But artists need space and time to create music. Art cannot hurry.

I think that sums up the dilemma perfectly that artists face today.

Another problem is the type of posts that seem to be required to be competitive on Instagram and similar platforms.

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Content formats that annoy me

These days, whether you’re a DJ or a producer, you’re expected to “perform” in front of the camera and produce visually appealing content.

DJs are told to have a “stage persona” and are expected to interact with the audience in exaggerated ways, such as waving their arms wildly or jumping around in the booth.

Whether DJs should be idolized “on stage” in front of the audience like musicians, or whether they’d be better off doing their job somewhere on the edge of the dance floor, is also a question.

I would argue in favor of the latter …

The problem is that media like Instagram or TikTok create a demand for visual content that didn’t exist before.

Time and again, new content formats pop up, like the “head nodding producer,” most of which you didn’t know you needed.

And some people always jump on the bandwagon.

Until everyone thinks they have to make ridiculous videos of “performing” their tracks in the studio if they want to stay “relevant”.

Why a social media boycott isn’t the answer

Okay, the situation is bad. But what’s the alternative? Not posting any content at all?

How else are emerging artists supposed to get noticed these days?

If you’re not on Instagram, you barely exist in the eyes of many people.

The romantic notion of simply making music and then waiting to be discovered is an illusion with even more potential for disappointment.

Today, it’s easy to get your tracks onto streaming platforms like Spotify through a distributor.

But with 100k+ new tracks uploaded every day, the chance of being discovered there without drawing attention to yourself through promotion is as unlikely as hitting the jackpot.

If you’re an artist who wants to get noticed, there’s no getting around promotion.

The solution to the social media problem

Whether you like it or not, every up-and-coming artist is bound to create social media content these days.

That doesn’t have to be bad news though.

From my experience, creating content can actually be fun. But only if two conditions are met:

I believe these two points are the main causes of frustration among artists today:

Content you don’t feel comfortable with, created in a volume that isn’t good for you.

Find your way

There’s no shortage of self-proclaimed social media gurus who will tell you how often you should post different types of content.

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The general consensus is that the more you post, the better.

Besides, you have to show your face by shooting talking head videos.

Ignore all this shit.

If you enjoy talking into the camera, then do it. If you don’t, then don’t.

Most content formats today are designed for extroverts. If you’re more of an introvert, just steer clear of that kind of content.

If you can’t post more than twice a month without feeling stressed, then just post twice.

Screenshot

Content formats for introverts

As I mentioned earlier, extroverts clearly have an advantage in today’s social media world.

They often find success with content that would make introverts cringe.

Luckily, there are still content formats that ambiverts (like me) or even introverts can feel comfortable with.

Just to name a few:

Chose your preferred type(s) of content and go for it.

Don’t spend too much time on creating stuff. You never know in advance what will go over well with the audience (the algorithm).

How to create content without risking burnout

First, consider which social media platform best suits your needs and personal strengths. I personally detest TikTok, so I don’t have a profile there.

Of all the platforms, Instagram is the one that suits me best.

Move on by defining the purpose that social media fulfills in your overall strategy as a house and techno artist.

I see my profile on Instagram as a showcase where I can feature my music. I can let people know about new releases or simply draw attention to my music.

Beyond that, I see Instagram as a place where I can interact with other artists and fans.

A great way to make content creation easier is to batch it. In other words, don’t just film, cut, and edit one video at a time.

Instead, try to create several pieces of content all at once in a single day, if possible. Then post them over the course of the next few weeks.

A simple editorial calendar takes the daily burden off your shoulders of having to wonder: “What should I post today?”

(Remember, you don’t have to post daily if this schedule doesn’t suit you.)

There is another aspect of social media that artists who have been active in the field for some time find particularly troubling:

The problem with reach & engagement on instagram

In particular, people who have been posting on Instagram for many years complain about low reach and/or engagement for their posts – compared to the past.

They blame the Instagram algorithm and claim that their own followers aren’t seeing the posts.

Instead, they say, it’s primarily non-followers who see the posts and rarely interact with them.

Based on my limited experience, I cannot confirm this phenomenon.

As of June 2026, I have just over 5,500 Instagram followers, and my posts receive an average of 900 to 1,500 views.

Sometimes the view count is higher, but it’s still far from going viral.

My audience is split roughly 50/50 between followers and non-followers when it comes to reels. For carousel posts, the ratio is closer to 65/35 in favor of the followers.

Maybe I’m wrong, but I don’t think it’s that bad for organic reach.

Anyway, it is what it is.

Don’t overestimate the numbers

One last point I want to make here:

Don’t place too much importance on the numbers (views, likes, shares, etc.)

Exception: Content that features boobs in any way generally performs well. Yes, that may not be politically correct, but it’s a fact

Even if it’s just a handful of people at first.

It’s better to have a few real fans than a lot of followers who will forget about you as soon as they’ve scrolled past your latest post.

Der Beitrag Why Content Creation Feels Like a Rat Race for Artists (And What to Do About It) erschien zuerst auf Magasine.

I’ve got ten fresh listening recommendations for you.

As always, this is mostly based on my vinyl purchases from the last few weeks.

It’s loaded with a bunch of different kinds of music, from all kinds of house and techno. Enjoy!

01/ URBAN CC – The Introduction (Part II)

Format: Vinyl & Digital

Label: Berg Audio

Genre: Tech House

Year of Release: 2026

Favorite Track: Maison (B1)

What I like about this release:

URBAN CC (Obscure Shape) puts out a solid EP on Berg Audio with five upbeat tracks that I’d call tech house (Track Nr. 5 is a short drum and bass add-on). I really like the natural, rough textures in this EP. The atmospheric vocal samples are also a great addition to the mix.

02/ Planet Funk, G. Pal – Shanti Remixes

Format: Vinyl only

Label: Shanti Mansion

Genre: Deep House

Year of Release: 2026

Favorite Track: Planet Funk – Chase The Sun (Makebo Remix)

What I like about this release:

Planet Funk’s “Chase the Sun” (Makebo Remix) is a cool mix of deep house and minimal, with some unusual ingredients for this genre, like guitar-played melodies and a gorgeous background singing voice.

03/ Kolter – Kinki Taxi EP

Format: Vinyl & Digital

Label: Hannes Kolter Records

Genre: House, Jazz House, Deep House

Year of Release: 2026

Favorite Track: First Summer (B1)

What I like about this release:

EPs where I like every single track on them hold a special place in my heart. Hannes Kolter’s Kinki Taxi definitely falls into that category. It’s simply four tastefully produced tracks with a summery vibe.

04/ Luis Radio – L’Amour EP

Format: Vinyl only

Label: Groovebom Records

Genre: Jazz House, Deep House

Year of Release: 2026

Favorite Track: Feed me (B2)

What I like about this release:

While the A-side features two lovely jazz house tracks, the B-side holds a little deep house gem in the form of “Feed Me.”

05/ Giom – Giom Classics Part.1

Format: Vinyl & Digital

Label: Supremus Records

Genre: House, Deep House

Year of Release: 2026

Favorite Track: Last Dance (B2)

What I like about this release:

A great EP with three tracks that blend house and deep house. I especially love the funky “Last Dance,” though it really benefits from being pitched up by at least +5 to let its groove shine even more.

06/ Eisbrenner – DTM010

Format: Vinyl only

Label: Detroit Techno Militia

Genre: Techno, Acid

Year of Release: 2026

Favorite Track: Medax (B1)

What I like about this release:

“Medax” is stripped down to the essential elements of a techno track and features a 303 acid line as its hook. Simple but effective.

07/ Altinbas – Nebula

Format: Vinyl & Digital

Label: Observer Station

Genre: Techno

Year of Release: 2025

Favorite Track: Nebula (B2)

What I like about this release:

“Nebula” is an atmospheric EP, and I was particularly taken with the title track. With it, Altinbas hits the nail on the head when it comes to my taste in non-peak-time techno: a powerful groove plus a clear motif, carried by warm pad sounds.

08/ Theo Parrish With Maurissa Rose – This Is For You

Format: Vinyl & Digital

Label: Sound Signature

Genre: House

Year of Release: 2022

Favorite Track: This Is For You (A)

What I like about this release:

I fell in love with this track years ago, the first time I heard it. It captivates me both musically and through Maurissa Rose’s wonderful vocals. I recently stumbled across the vinyl at Hard Wax and ordered it right away.

09/ Eman – Kapara

Format: Vinyl & Digital

Label: SK-X

Genre: Techno

Year of Release: 2025

Favorite Track: Pink Marble (B1)

What I like about this release:

A techno EP of the darker variety, featuring driving grooves and hypnotic patterns. It’s a great listen from start to finish. “Pink Marble” would be my favorite for the club.

10/ DJ Aakmael – AAKMAELEDITS02

Format: Vinyl only

Label: Not On Label

Genre: Deep House

Year of Release: 2026

Favorite Track: Crazy (A1)

What I like about this release:

On his AAKMAELEDITS02, DJ Aakmael delivers a few unique tracks that I find hard to categorize. The vibe is raw yet warm, the grooves are pounding, and the melodies are sweet. Soulful vocal lines float above it all.

Der Beitrag Top 10 House and Techno Tracks to Listen to in June 2026 erschien zuerst auf Magasine.

For this track, I literally collaborated with myself …

Joking aside: “Dos años” is the musical intersection between my two monikers, Still No Jazz and Magasine.

That’s why I decided to release the track under both names.

Listen here

Mixed by Magasine
Mastered by Perla Audio

Der Beitrag Still No Jazz & Magasine – Dos Años (Single Release) erschien zuerst auf Magasine.

A few weeks ago I stumbled upon an Instagram reel by @singular.sounds, playing an fast techno track.

The corresponding caption reads:

“Can we normalise slower BPMs again? 140+ should be the exception”

He pitches the record down by -8, stating that there’s now more space and groove in the music.

I wrote a comment saying: “At some point, the groove is lost at higher tempos”

The post got over 20k likes, and my comment alone got more than 2k.

Nevertheless my comment received a few replies, defending higher BPMs (beats per minute) in techno.

In hindsight, I’m not so sure anymore whether my comment really reflects the truth. That’s why I’d like to devote this article to the topic of groove and (faster) tempos.

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What is groove anyways?

Groove refers to the rhythmic feel that makes music compelling, danceable, and emotionally engaging.

Different genres have signature groove feels (straight 16ths in funk, swing in jazz, dotted rhythms in reggae, etc.)

Yes, groove is absolutely possible at higher tempos – but it behaves differently and often requires different techniques to maintain that irresistible, locked-in feel.

Take Jazz for example:

Up-tempo swing ranges somewhere between 200-300+ BPM. The ride cymbal keeps a swinging feel even at blazing speeds.

Or let’s have a look at Drum & Bass that ranges between 160-180+ BPM. The groove comes from the interplay between fast hi-hats, breaks, and heavy half-time kick/snare-patterns.

The thing is:

Different groove pattern work best within particular BPM ranges

With higher tempos microtiming becomes tighter.

The tiny pushes and pulls that create groove have less room to breathe. What feels like a nice roller at 130 BPM can sound rushed or stiff at 160+ BPM.

At faster tempos other subdivisions are needed to keep the groove from sounding frantic (e.g., playing eighths instead of 16ths).

@m29_music, the artist behind the track played in the Instagram Reel I mentioned, admitted in his comment:

I produced this track. I totally understand your point and I kinda agree with you as it’s not the bpm range I normally produce or play when it comes to techno.

This was more like an exercise and experiment to see how far I could go with this fast dub techno style. Interesting to see it started a whole discussion.

That said, there’s plenty of slower dub techno tracks, I don’t know much more fast tracks besides some from LDS and I think it’s fun to do something different sometimes. Play it at the speed you enjoy the most!

This shows that it’s not the faster tempo per se that undermines groove.

Another important point:

Tempo and energy aren’t the same thing

The first track that came to my mind to prove this claim was Vril’s “We believe”.

This heavy stomper sounds massive while sitting comfortably at 127 BPM.

Another great example: Len Fakis all-time classic “BX3”.

In my opinion, this is one of the best techno tracks ever made. It’s full of energy from start to finish, and it works well as is running at a comparably slow 125 BPM (but feels faster).

At 134 BPM, Rene Wise’s “Complicated” unfolds with a somewhat different groove. It’s one of my favorite techno tracks of recent years.

It seems like my choice of three techno tracks in a range between 125 and 135 BPM might not be a coincidence.

There’s some evidence that this could be the best range for Techno, even from a scientific standpoint.

BPM, heart rate and the physiology of dancing

Our cardiovascular system and movements naturally tend to align with the music’s tempo. This phenomenon is called entrainment.

When dancing to club music, the steady kick drum and repetitive rhythms prompt our heart rate, breathing, and steps to match or approach the BPM.

It elevates heart rate into a cardio-like “training” zone while dancing.

A tempo above 140 beats per minute accelerates heart rate more aggressively, increases excitement, and mimics higher-intensity cardio.

This is why hard techno sets feel more physically demanding.

Fitter dancers can handle higher BPMs with less relative strain, which might explain why especially younger people are drawn to hard techno these days.

There’s no right and wrong

Ultimately, it’s just a matter of personal preference. Listen and party to what feels right to you!

For me, anything over 140 BPM feels simply too fast.

And in the 120–140 BPM range, I’m also very picky about what I like and what I don’t. The tempo doesn’t really matter here, but the vibe of the track does.

In my view, all discussions about whether a piece of music can be techno if it’s slower than – let’s say – 130 BPM are pointless.

As if to say: anything below that must be (tech) house.

No, it doesn’t have to be.

I hardly ever judge whether something is more house or techno based on the tempo. Instead, I look at the vibe and how the track is produced.

Live and let dance!

Der Beitrag What’s the best tempo for techno? erschien zuerst auf Magasine.

My second Vinyl EP is out now!

Thank You My Sun has four upbeat tracks that fit somewhere between house, tech house, and minimal.

Tracklist:
(A1) Joy
(A2) Artistico
(B1) Klimduin
(B2) Mistral

The opener, “Joy”, is captivating with a soulful choir phrase, which sets the mood for the whole piece.

Up next is “Artistico,” a minimal track with an emphatic bassline and powerful percussion.

On the B-side, “Klimduin” takes a chill ten minutes to deliver some minimalist magic.

The EP ends with “Mistral”, a dance-worthy track with its rolling drum arrangement and floating synth figures.

Thanks again to Perla Audio for the excellent vinyl mastering.

You’re welcome to order the EP on my Bandcamp page.

You can also get a vinyl copy here:
Decks
Deejay
HHV Records
Juno Records
Selected Wax

I’d like to thank everyone in advance who will be playing and listening to the record. I really appreciate your support

Der Beitrag Magasine – Thank You My Sun (EP Vinyl Release) erschien zuerst auf Magasine.

There is hardly any subgenre of electronic music that has fascinated me as much as minimal house and techno over the years.

It feels intellectual yet natural, sophisticated in its restraint.

You could describe it as the “jazz of 4-on-the-floor music” because it definitely takes a little time to get a feel for the sound of minimal.

In this article, I want to briefly discuss the history of minimal house and techno, the good and bad parts of the genre and why I still have a sort of love-hate relationship with minimal to this day.

The history of minimal and how its sound evolved over time

Minimal emerged in the mid 1990s with artists, that stripped electronic dance music down to its bare essentials:

Their minimal tracks were characterized by a strong emphasis on groove, space, and hypnotic repetition.

Robert Hood’s Minimal Nation (1994) was a landmark for the upcoming genre:

A more polished and cooler variant of minimal represented Richie Hawtin’s label M_nus with its quintessential release Plastikman – Consumed in 1998.

The album is regarded as a masterpiece of minimalist techno: extremely sparse, hypnotic, and atmospheric.

Another influential figure in the scene was – and still is – Ricardo Villalobos.

He developed his own distinctive style based on complex yet subtle rhythmic layers with strong Latin American percussion influences, hypnotic repetitive arrangements, and organic textures.

His international breakthrough came in 2003 with the debut album “Alcachofa” on Playhouse.

Another interpretation of the term minimal emerged around 2010 with the “Rominimal” movement, for which producer and DJ Raresh is one of the leading figures.

Romanian Minimal expands on the genre’s defining micro-variations and intricate percussion arrangements with a strong emphasis on feel, swing, and emotional depth.

It sounds less “clicky” and offers less clinical precision than some earlier trends in the minimal scene.

Minimal house and techno in 2026

As I outlined above:

Over the course of about 30 years, the sound evolved from raw Detroit functionality to warmer, groovier, more accessible hybrids.

Hypnotic repetition and subtraction are still at the core.

But better software and sound design tools are allowing for more textural depth without losing the minimalism that makes the style so unique.

My favorite artists in this field right now are Sublee, Fedo, Silat Beksi, NTFO, Tom Ellis, and Albert Azar. Just to name a few.

What I like about minimal (as a DJ)

I like minimal tracks best when they have a strong groove, a textured feel, and sound clear, warm and powerful at the same time.

For a track to really grab me, it’s got to have something special that makes me notice it.

That could be a catchy vocal snippet or a subtle synth line that makes the track memorable.

Beatmatching is easier because they’re less densely instrumented and the beat is clearer.

But be careful:

Ricardo Villalobos’s tracks are minimal as well, and some are still difficult to beatmatch – at least for me – due to their complex grooves and less accentuated kick drums.

Check out my latest Minimal House & Techno DJ Mix (Vinyl only):

Another advantage becomes apparent in the next point:

Why minimal house & techno sounds so good in the club

Tracks with sparse elements shine on proper club speakers.

That’s because of the way sound systems in clubs are designed and how minimal tracks interact with them.

Minimal tracks use a relatively small number of elements at any given time (e.g., kick + bass + one or two percussive layers + occasional texture).

This creates clean frequency bands with minimal overlap.

This results in exceptional clarity and definition. You feel deep, physical bass impact without mud or resonance buildup.

That´s because (good) club systems usually have massive power reserves.

Another benefit: with fewer competing frequencies the sound is less fatiguing over long sets.

Subtle variations and micro-changes become more noticeable and impactful precisely because there’s less sonic clutter.

What makes minimal house and techno addictive

Minimal techno and house deliver subtle groove rather than obvious drops.

The question is: Why does this stripped-down sound feel so hypnotic and addictive?

The answer might lie in how our brain works.

Fewer elements mean your brain can lock onto the groove without constant novelty overload.

This is why a well made 7–10 minute minimal techno track doesn’t feel boring.

Those tiny variations within repetition provide just enough novelty to stay interesting while delivering comfort and mastery.

But it’s not all sunshine and rainbows with minimal …

The downside of minimal music

As mentioned at the beginning, you have to give the genre a listen first.

If you need a dramatic breakdown/drop every two minutes just to keep from getting bored, you won’t be able to appreciate the appeal of minimal music.

In other words, it requires a bit of patience and the willingness to enjoy subleties.

Still, I have to say: yes, minimal house and techno can really be boring.

It´s not enough to randomly put some glitchy micro-sounds together to stand out these days.

As in any other genre of electronic music, unfortunately too many producers are preoccupied with sounding exactly like the 10,000 others who came before them.

Only a few have the courage or the willingness to create a unique sound that stands out from the sea of releases.

But we shouldn’t blame the genre for that.

I’ve picked out 11 releases that I’ve really enjoyed lately: click here to have a listen.

Feel free to check out my unreleased minimal track “Amuse Gueule”:

I made exclusively for the lovely people who subscribe to my newsletter.

Der Beitrag Why Minimal Techno and Minimal House Are So Addictive erschien zuerst auf Magasine.

This collection of tracks is an addition to my blog post about why minimal house and techno music is so addictive.

Although it says “You Need to Hear in 2026” it also contains some gems from last year.

Either way, these tracks are fresh and timeless:

01/ Albert Azar – Politically Correct

Format: Vinyl & Digital

Label: Sounds of Sirius

Year of Release: 2025

Album: SIRIUSB002 EP

What I like about this track:

“Politically Correct” stands out for its stomping, yet rolling groove. A Spanish speaking man’s babbling over the top gives the track its special touch. Plus, Albert is just a nice guy – I enjoy writing with him every now and then and chatting about music and everything under the sun.

02/ Silat Beksi – My B!tches

Format: Vinyl & Digital

Label: Rawax

Year of Release: 2026

Album: Vertigo EP

What I like about this track:

Moving on from political correctness, we come to Silat Beksi’s “My B!tches” – an entertaining minimal track from his Vertigo EP, which I’d classify as straddling the line between minimal and tech house.

03/ Aldo Cadiz – Nota W

Format: Vinyl & Digital

Label: Beatwax Records

Year of Release: 2026

Album: Amandorada EP

What I like about this track:

“Nota W” has a powerful drive that makes it perfect for peak time purposes. It features a whole arsenal of quirky yet tasteful and well-coordinated sounds that keep the track engaging from start to finish.

04/ Cristi Cons – Hello

Format: Vinyl only

Label: Serialism Records

Year of Release: 2025

Album: V.A. – Nowhere fast Vol. 1

What I like about this track:

Cristi Cons’ “Hello” is driven by a punchy, driving bassline, that is accompanied by hazy vocal cuts and moody synth pads. This track is a great example of a track that I would still classify as minimal, even though it offers more than just a a bare minimum of percussive clicks and bleeps.

05/ Prt Stacho – Deva (Last Pines Remix)

Format: Vinyl only

Label: Sounds of Sirius

Year of Release: 2026

Album: Fedo & Prt Stacho – Eye of Deva

What I like about this track:

Even though I really like Fedo’s “Big Eye,” which opens the EP, I’m particularly drawn to the vibe of Prt Stacho’s “Eye of Deva” in the Last Pines remix. The concept of minimalism, combined with atmospheric pad sounds, is also fully realized here.

06/ Ema Remedi – Space is a Place

Format: Vinyl only

Label: Sketches Records

Year of Release: 2025

Album: Entropy EP

What I like about this track:

Ema Remedi’s “Space is a Place” captivates with a simple yet hypnotic felt-piano motif. It’s something I love anyway: the integration of acoustic instruments and sounds into electronic music.

07/ NTFO – Circulara

Format: Vinyl & Digital

Label: Sintope Vinyl Series

Year of Release: 2026

Album: Derivat EP

What I like about this track:

“Circulara” hits the ground running right from the start with its rolling bassline. Distorted vocal cuts and loops give the track its unmistakable sound. An absolute dancefloor weapon!

08/ Fedo – After Out

Format: Vinyl & Digital

Label: Modeight

Year of Release: 2026

Album: Nuke Hook EP

What I like about this track:

Minimal, just the way I like it: groovy, pared down, yet playful. It’s hard to pick out any particular track on this EP. I picked “After Out” for my latest Vinyl Only Minimal DJ Mix.

09/ Tom Ellis – Chroma Blur

Format: Vinyl & Digital

Label: Logistic records / Telegraph records

Year of Release: 2025

Album: Chroma Blur EP

What I like about this track:

“Chroma Blur” combines an intricate drum und percussion arrangement with an ebbing and flowing synth pad. On top of that short vocal cuts whisper mysteriously through space and time.

10/ EASTMYND – Detachment

Format: Digital

Label: Evaporate

Year of Release: 2026

Album: Evaporate VA011 – 6th Anniversary

What I like about this track:

“Detachment” combines dubby synth stabs with an intricate arrangement of glitches, vocal cuts and ambience sounds. Some pads that slowly slip out of tune add to the gloomy atmosphere. Minimal but multifaceted at the same time.

11/ Magasine – Klimduin

Format: Vinyl (first) & digital

Label: Magasin Music Records

Year of Release: 2026

Album: Thank You My Sun EP

What I like about this track:

I hope you’ll forgive me for ending this list with a shameless plug. But the release of my second vinyl EP is just around the corner. And with “Artistico” and “Klimduin,” the record features two tracks that straddle the line between minimal and tech house. I’m very happy about the whole EP. Which is something you can’t always say about your own work as an artist…

Minimal House & Techno DJ Mix

If you’d like to hear some of the tracks mentioned earlier as a DJ mix, check out my latest Minimal DJ Set (Vinyl only):

Bonus: Magasine – Amuse Gueule (Unreleased)

“Amuse Gueule” is a track that I made just for the lovely people who subscribe to my newsletter.

Feel free to check it out …

Der Beitrag 11 Minimal Tracks You Need to Hear in 2026 erschien zuerst auf Magasine.

If you like my music, you might also be interested in seeing what the place where it’s created looks like.

That’s why I took a few pictures of my studio setup in mid-2026.

Note to myself: I’m curious to see what’s changed when I come back to this post later.

I’ll give a quick rundown of each photo and explain the role that the instruments and machines shown play in the music of my two monikers, Magasine and Still No Jazz.

Here we go…

Recording & Monitoring

Let´s start with some fundamentals …

Audio Interface, Pre-Amp & Outboard Effects

Audio Interface, Pre-Amp & FX

I use the RME Fireface UC audio interface, which has eight inputs, to record hardware synths, bass, and guitar.

Two of my main hardware synths – a Sequential Prophet 6 and an OB-6 – are plugged into the Fireface permanently (rear inputs). Every other machine is only plugged in when needed.

The Golden Age Audio PRE-73 DLX Premier Pre-Amp is perfect for recording bass (DI-Input), guitar or any acoustic instruments (mic input). The signal goes from there into the Fireface UC, which is connected via USB to a MacBook Pro M4.

My external effects chain includes a Boss Dimension D Chorus, a Vongon Ultrasheer Plate Reverb/Vibrato, and an OTO BIM Delay.

I like the sound of each unit, but I don’t use them that often these days. Plugins like Valhalla DSP are just more convenient.

Headphones

Hifiman Ananda Nano

As I said in my Producer’s Guide, I prefer to use headphones instead of monitor speakers. I find this works best for me during the whole production process.

I chose the semi-open Hifiman Ananda Nano because of their ultra tight low end.

It would require a lot of effort to get equally good results with monitors and the necessary room treatment.

Another advantage to consider:

I can work on my music whenever I want without disturbing my family.

Hardware Grooveboxes & Synths

I’ve been doing more and more of my production in the box these days, but I still have a few hardware machines and instruments that I couldn’t do without.

Drum Machines

Behringer RD-8 & RD9

If you’re into electronic music production, you should at least have tried out one of the two classic Roland grooveboxes (“TR-909” and “TR-808”).

The originals from the 1980s are pretty much unaffordable now, so I went with the reasonably priced and great-sounding modern versions from Behringer.

I rarely use recorded grooves directly in my tracks though because I’m missing one crucial parameter for crafting optimal drum sounds:

Control over the attack time.

That’s why I often rebuild drum tracks I recorded with the Behringer units in an Ableton Drum Rack.

There, I can adjust the attack time for each sample individually.

Sometimes I also record entire loops, which I then cut to size in Ableton and process with EQ.

Sequential Prophet 6 & OB-6

Sequential Prophet-6 & OB-6

These two instruments are my absolute favorite synths when it comes to analog sound generation.

It doesn’t take long to come up with a sound that’s just amazing. And tweaking the knobs is always fun.

Even though both synths have a similar basic sound, the Prophet-6 is simply an all-around genius that shines in many genres.

The OB-6 sounds a bit more distinctive, that is rather rougher and wilder, thanks to its SEM filter.

Moog Subharmonicon & DFAM

Moog Subharmonicon & DFAM

I really like the design, form factor, feel and the rich, full-bodied sound of Moog’s semi-modular synths.

However the DFAM and the Subharmonicon aren’t the best at creating sounds that’ll work well in a specific track.

Both sound generators are better suited for jamming without a specific goal in mind, waiting for happy accidents, and sampling those.

If you’re lucky, you might end up with musical motifs that can be used for new tracks.

Moog Mother-32

Moog Mother-32

Of Moog’s line of semi-modular synths, the Mother-32 is probably the easiest instrument to create quickly and easily great monophonic analog sounds.

I prefer to use the Mother-32 in tracks for rich-sounding saw and square basses.

So far, I haven’t really explored the modular patching capabilities on any of the three Moog synths.

That might change in the future, which brings us to the next point…

Modular System & Live-Setup (in the making)

Modular System & Live-Setup

Two elements that have played virtually no role in my music so far are:

1. Generative synth lines, the kind that only a modular system can produce, and
2. A small, highly portable setup that allows me to make electronic music in a live setting and improvise within certain limits

For this reason, I designed a small setup, mostly using equipment I already owned.

Unfortunately, I don’t have the time right now to really dive into this setup.

But I hope I’ll be able to turn this into some inspiring project soon…

Yamaha Preface CP

Yamaha Preface CP

The Yamaha Precface CP serves two purposes: first, it quickly delivers great Fender Rhodes and Wurlitzer sounds.

Second, it acts as a MIDI keyboard for those occasions when I want to play chords or melodies by hand.

To be fair, I have to say that I mostly generate chords and cadences in the DAW.

Either with the Chord Tool or with the “convert harmony to new MIDI track” function in Ableton, if I have a good sample to start with.

Sometimes I also use the VST plugin Scaler 3 to generate harmonies.

Ableton Live (DAW)

Ableton Live 12

Ableton Live 12 Suite is the foundation of my productions.

For many years, I’ve been working with a template I developed myself, which I continually refine and adapt. This template already has some selected drum samples preloaded.

Even more important to me, however, is the configuration of the sub-groups and return channels, which make it possible to quickly achieve a great-sounding mix.

Guitars, Basses & Amps

Guitars and Basses don’t play a role in my Magasine releases, but they are regularly featured in Still No Jazz productions.

Electric Guitars & Basses

Guitars & Basses

I’ve been playing guitar for about 36 years, and I play a little bass too.

Over the years, I’ve come to realize that I’m just a “Fender guy.” I’m really into Fender Stratocasters and Fender Telecasters with different pickup configurations.

I’ve also got a semi-hollow Ibanez jazz guitar, two acoustic guitars (one with nylon and one with steel strings), and two basses (a 5-string and a fretless).

Guitars & More Synths

SOMA Lyra-8 & Roland SH-01A

In the background on the left is another very, very unique sound generator: the SOMA Lyra-8. It’s probably the most unconventional synth I own.

In the background on the right is the SH-01A from Roland’s Boutique series.

Marshall, Fender & Mesa Boogie

Marshall, Fender & Mesa Boogie Amps

Electric guitars need amplifiers.

I have three classics:

A reissue of the Marshall Plexi (with an Ibanez Tube Screamer in front; and brought up to room volume with a Fryette Power Station), a Fender Custom Champ, and a Mesa Boogie Maverick that I’ve been playing since the year I graduated from high school (1995).

The amps are recorded using a Sennheiser E 906 dynamic microphone, which is connected to the Golden Age Audio PRE-73 DLX Premier (see above).

Pedalboard #1

Pedalboard #1

What the modular system is to electronic music producers, the pedalboard is to guitarists: an endless playground.

Of course, the whole process involves a lot of trial and error, and I don’t know how many pedalboards of various sizes I’ve already put together and taken apart.

For a few years now, I’ve had a setup that I use primarily in front of the Fender Champ when I’m playing clean.

What all these effects pedals have in common is that they sound very transparent and barely alter the natural sound of the guitar and amp.

Pedalboard #2

Pedalboard #2

I’ve also got a second pedalboard with some more experimental effects.

I usually use this one when I want to record directly through an amp simulator (Strymon Iridium).

DJ Setup

Now a few words about my DJ setup:

Ultimately, working with CDJs and digital files just didn’t inspire me. So in mid-2025, I decided to start DJing exclusively with vinyl.

So far, I haven’t regretted the move, even though vinyl is, of course, a relatively expensive hobby.

My setup basically consists of two Technics 1210 MK7 turntables and an Allen & Heath XONE:96 mixer.

DJ Setup

Two Genelec 8010 monitors paired with a Genelec 7040 subwoofer bring my vinyl treasures to life.

For mixing, I rely on Sennheiser HD-25 headphones.

Genelec 7040 Subwoofer

Keep things in order

One last point, though not as exciting as synthesizers, guitars, or amps:

A studio with a significant amount of hardware is inevitably subject to the law of entropy.

I’ve now filled an entire cabinet with clear plastic bins where cables and accessories are stored and sorted.

This way, I can find everything relatively quickly when I need it.

Keeping Things Organized

That was a quick tour of my home studio (as of May 2026) – I hope you enjoyed it.

And with that, let’s move on to today’s …

Listening Recommendations

Even though I’m always buying releases from producers all over the world, in this issue I’d like to feature five artists from my home country, Germany:

Sascha Dive – I Was Deep In My Last Life

Format: Vinyl only

Label: Bondage Music

Genre: Tech House

Year of Release: 2025

Favorite Track: The Rush feat. Robert Owens (B1)

What I like about this release:

Across four tracks, Sascha Dive succeeds in creating a dark, atmospheric vibe. Plus, the tracks are superbly produced and sound incredibly powerful on vinyl. I love listening to them on repeat.

Markus Homm – The Cross

Format: Vinyl only

Label: Rauform

Genre: Tech House

Year of Release: 2026

Favorite Track: Disconnect (A2)

What I like about this release:

This is yet another vinyl EP where I find it hard to pick a favorite track. With his first release on his own label, Rauform, Markus Homm delivers four great tech house tracks that I love to listen to all in a row.

Mathias Kaden – Three Decades

Format: Vinyl & digital

Label: Rekids

Genre: Tech House

Year of Release: 2026

Favorite Track: Keep Balance (A2)

What I like about this release:

A terrific album spread across two 12-inch vinyl records. Mathias Kaden is celebrating his 30th anniversary in the scene not with a retrospective of his old work, but with a collection of fantastic new tracks that offer plenty of variety while still coming together as a cohesive whole. The sound is beyond question.

Sven Väth & Wolfgang Haffner – Fusion

Format: Vinyl & digital

Label: Cocoon

Genre: Jazz House, Electronica

Year of Release: 2026

Favorite Track: L’Esperanza (Wolfgang Haffner Jazz Version) (A2)

What I like about this release:

As soon as I heard about this record, I didn’t hesitate for a second to order it. For Sven Väth’s 60th birthday, his friend, jazz drummer Wolfgang Haffner, arranged a few of his pieces in a fusion style. The result is this EP, which unfortunately features only three tracks, but they sound simply wonderful. “L’Esperanza” in particular reminds me of the sound of the fusion combo Metro, which is how I first became aware of Wolfgang Haffner in the mid-1990s.

Pornbugs & Frink – On The Other Side Of Fear

Format: Vinyl & digital

Label: Bondage Music

Genre: Tech House

Year of Release: 2025

Favorite Track: What you want (B1)

What I like about this release:

The producer pairing Pornbugs & Frink released a wonderful tech house EP in 2025, featuring the rich, warm, punchy sound typical of Bondage Music. All the tracks on it are great, though my favorites tend to be on the B-side.
 

Der Beitrag My Studio Setup 2026: Full Music Production Studio Tour erschien zuerst auf Magasine.