Collection: Advanced Vinyl Search

Oscar Mulero's own PoleGroup, running since 2004, and four tracks held inside a tight 134–136. Spanish throughout: "Aroma de Falso Amor", "Poisonality", "Iris Malicioso", "Dos Pequenos Zorros". Pitched at the hypnotic, pressurised end of his catalogue rather than the fast one — very little moves, and what does moves deliberately.

Four tracks from Border One, a Fuse resident and long-standing figure in Belgian techno.Hypnotic textures against raw grooves, built as a journey rather than four separate tools.

Four tracks from Cirkle, twelve years into a run out of Athens and balancing introspection against peak-time weight. "Skyland" opens at 144, the rest holds at 140. Techno built to stay functional without chasing the moment.

Four tracks at a flat 140 from Temudo — João Rodrigues, one of the central figures in Portuguese techno. A drum & bass background shows in the sound design and the low-end focus. "Meteora" and "When I Grow Up" on the A, "Vrthng" and "It's Always Past" on the B.

Four tracks from Markus Suckut, working the Robert Hood school of minimalism where stripped, groove-first arrangements move through the smallest details. "Patience", "Resurrection" and the title track sit at 136, "Myth" at 140. He runs the solo-only SCKT imprint and co-runs Exile.

Eight cuts but four pieces of music: "Deadly Rays (Of A Hot White Sun)", the percussion mix of "Gateway Of Zen", "999" and "The Industry Of Dreams", each immediately followed by Mills' commentary. The most systematic of the chapters, and the one built most for listening.

The first of Jeff Mills' Director's Cut chapters, on the Axis label he founded in New York in 1991 and later moved to Chicago. Four tracks, including a previously unreleased version of "Suspense" and a "Transformation B" subtitled "Rottwang's Revenge". "Suspense" opens at 144, then the record settles into the...

Five tracks, with "Flying Machines" appearing both as music and as Mills' spoken commentary on it. "UFO" is the outlier at 136; "Comdex", "A-Set" and "Flying Machines" all sit between 123 and 126, closer to soundtrack pacing than club pacing.