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Recycling Wax is not pitch riding.
Robin Tasi
October 02, 2025
Hey everyone,
How are you doing? How’s your week been so far? I was really happy about all your birthday messages and had a great time with my girlfriend in Amsterdam. We visited Killacutz, Distortion Records, and Rush Hour. In every shop, I managed to find at least one record, which was a lot of fun! Definitely worth shortening the newsletter for a week.
This week, the newsletter is back to its usual length. As I mentioned around 4 weeks ago, I’ve changed the categories a little and only want to highlight upcoming releases once a month. There are so many good records coming out right now, but I have to admit that the new releases don’t fully click with me at the moment (no disrespect to any artist). That’s why I’ve decided I’ll keep an eye on upcoming releases from time to time, and when I find something worth it, I’ll bring that category back.
Until then, here’s what today’s newsletter looks like:
Recent Cuts - Fresh vinyl and digital releases worth checking out.
Essential Oldschool - Records from the 90s and early 2000s that still matter today.
Behind the Booth - Personal stories, lessons, and perspectives from life as a DJ.
What’s in my Bag? - A peek into recent gig selections, new digs, and timeless records.
Top 5 by Me (Record Stores) - A handpicked selection, carefully curated each week by DJs.
Community Pick of the Week by Dakou - One favorite from the community.
1. Recent Cuts - Fresh vinyl and digital releases worth checking out.
 © decks.de |  © deejay.de |
#1 Peix - Tenet EP: Ah, those were the days when I think back to my early time as a DJ and club-goer: Techno was barely present in clubs around NRW, which was kind of sad. But at the same time, you really felt like you were among like-minded people who were all there purely for the music. Back then, the common mindset was: play Techno under 135 BPM. Anything above that was already considered too fast. Hard to even imagine today. And what was especially popular in the early and mid-2010s was Techno with sci-fi and bleep elements. That sound is making a comeback now, but a bit faster and, for my personal taste, a little too clean. It’s very well produced, technically much better than back then; you can really hear the progress, but it just doesn’t fully click with me. That’s where I came across Peix. The style immediately throws me back to the early 2010s. Sure, even at that time, the tracks would’ve been considered fast, comparable to “A&S - Xenix”, which we always slowed down back then. But there’s this slight roughness in the sound that I can really feel. Especially the A1 gives me goosebumps. And I can already picture a friend of mine, who’s a regular reader of this newsletter, listening to this EP with a huge grin on his face. Clear “No Filler Only Killer” release and a big, big tip! | #2 Static Flow - Static Flow EP: When I dig for new records, whether old or new, I always want variety in my collection. And here’s a funny story about that: I actually managed to convince my girlfriend Kathi that buying records is simply a lot of fun. At first, she was kind of annoyed by my hobby, waiting in the shop, and sometimes frustrated at how long it’d take. But eventually, she got into it herself and is, in a way, addicted now too. Bad for our shared wallet, but luckily, we don’t have a joint account yet! hahaha. So these days, Kathi and I usually stand next to each other at a record shop, each at a turntable, and we pass records back and forth when one of us isn’t feeling them. And often, Kathi asks me: “Wait, why don’t you want this one?”, especially when it’s something by Marco Bailey, Glenn Wilson, or Lars Klein. And I tell her: “I already have quite a few of their records, so I try to focus on discovering other artists”. And honestly, most of the records from those guys are straight-up bangers, no question. But I want my collection to be as broad as possible within Techno and House. And speaking of broadening the collection: Static Flow is exactly the kind of record I’m looking for. It’s still Techno, but I hear something here that I haven’t come across too often. A mix of early 90–’92 Techno, UK Breaks, and bleepy old-school Techno. My favorite here is definitely “Formula”, an absolutely massive electro track. A true MUST-HAVE RECORD! |
 © hhv.de | #3 Robbert Mononom - Mononom III: Finally, let’s get to a reissue from 1998. Originally from the Netherlands, produced by Robbert Latumahina, part of the legendary Dutch Mononom soundsystem. I think “8bit Mayhem” appears in Stranger’s legendary Gabber set, and since I’ve probably listened to that mix about 50 times, the track instantly stuck with me. I really love it, and somehow I want to know more about what exactly “Freetekno” is. So far, I’ve only stumbled across a few tracks in that genre, and they were always super fast and freaky. I guess that’s what defines the sound? Not entirely sure, though. Do you guys know, so I don’t have to go on a deep digging mission? Let me know! :-) |
2. Essential Oldschool - Records from the 90s and early 2000s that still matter today.
 © discogs.com |  © discogs.com |
#1 Killa Productions - Feelin’ Acid: Today, I want to show you the latest records I picked up. As I mentioned in the intro, I was in Amsterdam. At Killacutz, I browsed through the “rare grooves” crate. I’m not sure if that’s what it was officially called, but it definitely said on the box that these were hard-to-find records. And I couldn’t believe my eyes: I finally found it: Killa Productions - Feelin’ Acid. A record that has been on my wantlist for at least 10 years, which I even removed at some point because it was just too expensive. But you know how it is: when you’re in a record store, no matter the price, you just can’t leave behind that piece of plastic you’ve been craving for years. That’s especially true for me with Dance Mania records. Same with this one. It cost me €25, and honestly, I didn’t even blink. I had to have it, and it feels insanely good!!! Don’t be like me: if you get the chance to buy that long-awaited record, just go for it! | #2 Gecko - Secret Pleasure: The Gecko record I came across recently while digging through the full discography of Jericho on Discogs. I already own several releases from the label, and they all have this kind of “dreamy” vibe, the Gecko record as well. And a dreamy touch can sometimes lift the mood on the floor and give people a breather. Plus, Secret Pleasure has a genius Reese bassline. It’s simply a joy to listen to. Big tip, and luckily the record was super cheap! |
 © discogs.com |  © discogs.com |
#3 Akira Ishihara - Back To The 90’s EP: Next up: Akira Ishihara, an artist I definitely haven’t paid enough attention to. On Submissions (Glenn Wilson’s label), the Japanese producer didn’t exactly convince me. But then my girlfriend told me, “Look, I ordered a new record”, and put this one on. My jaw dropped. “Reel Musiq?” I thought. “Never heard of it”. But of course I had, I even had one of their records sitting on my shelf. Somehow, neither the label nor the artist had stuck in my memory. Thankfully, Kathi filled in the gaps for me. This record is absolutely insane when it comes to funky elements and groove. Every track is a masterpiece, and I’m sure I’ll be playing them for a long time. Naturally, I ordered the record myself right away, no chance I wasn’t going to. And I highly recommend you do the same! | #4 Murat - The Move EP: Just like the Killa Productions release, here’s another record that’s been on my wantlist for ages (though not quite 10 years). It’s by Murat, though strangely, Discogs lists this release as Morat. I’m pretty sure that’s a mistake. Not only did Skee Mask mention a release of his in his Top 5, but I also recently fulfilled a dream with the Moments EP. I had wanted that record for years. Now let’s talk about The Move EP, a 4-track vinyl where the A-side carries heavy tribal elements, almost sounding like Ben Sims or User. The B-side is rougher and more heated, with the B1 especially banging. But my favorite is without doubt the B2. What a stunning track, it feels like a beautiful train ride. “Added 12 days ago” on Discogs, but to me it’s a track that sounds like it’s been “played on the dancefloor for 3 years”. |
 © discogs.com | #5 DJ Skip - The Cleaner Side Of Me: And last but not least: my birthday present from my lovely girlfriend Kathi. Of course, she knows how much I’m into Dance Mania, after all, my goal is to collect every single release from the label. Even though there are unreleased and super-rare white labels, I’ll do everything I can to get them all. Kathi also knows my wantlist and went digging for Dance Mania records again. And here’s the best part: the record she gave me was mint and still sealed. What an (okay, very nerdy but) amazing feeling, being the first to open such a piece of history. And I have to say: 6 killer tracks, all in that classic Dance Mania style, and DJ Skip really knows how to make tracks funky and bouncy. A brilliant release, highly recommended! |
3. Behind the Booth - Personal stories, lessons, and perspectives from life as a DJ.
Yo, I’ve been thinking for a while about what exactly I should write for this week’s column. Should I go into the double standards of the techno scene? Nah. Should I write about “real underground”? Nah. Why not? Because I don’t want every post to sound like some bitter mid-30s guy complaining about things that annoy him. At the end of the day, music is an art form that’s listened to based on taste.
Today, I heard a client say: “When I listen to my Ballermann hits, I’m happy. All that boom boom boom my 16-year-old son listens to, I just can’t deal with it”. And honestly, I kind of get it, even though Ballermann hits are nothing more than heavily polished electronic rhythms. The difference from the boom boom boom stuff? The lyrics, simple, easy to understand, and accessible. Maybe my client should check out modern trance? Ah, never mind, that already sounds bitter again. Let’s leave that aside.
Today I’d rather focus on something positive. Because what’s left for someone who doesn’t produce music themselves? Sharing music. And the more people share music, the more togetherness we create, the more joy, the more fun. But there are plenty of people who want to go beyond just sharing playlists; they actually want to learn the craft of DJing.
I love giving vinyl courses to people of all ages. Everyone’s welcome. And while I show people how I mix, I keep realizing there are so many ways to mix. Personally, I work a lot with the turntable, less with the actual record. I noticed that the spindle hole is sometimes cut tighter, sometimes wider, which means the record can move slightly differently depending on how it’s pressed. That’s why I only touch the record at the very beginning and then use the platter itself to speed it up or slow it down, a bit like on a CDJ, but with even more feel.
I’ve also seen others balance the tempo using something called “pitch riding”. Honestly, I don’t get that. Because: if I want to get one record to match the other and stay in beat, then by balancing the pitch like that, something’s eventually going to drift off, right? I mean, to lock the beats together, I have to adjust the pitch a little, otherwise I’d never get them beat-matched, unless I drop the record at the exact perfect moment with the other one. Or is my logic just off here?
Here’s how I do it: I only change one variable at a time. Either I adjust the speed of the platter, or I use the pitch fader. Doing both doesn’t make sense to me, because then I wouldn’t know which one actually made the difference. So at the start, I check whether my record (set at ±0) is running faster or slower than the one that’s already playing. If it’s slower, e.g., I’ll nudge the platter forward a bit with my finger until I get it roughly in sync. Only then do I touch the pitch fader to lock it in. Then I repeat the process until I notice the beats aren’t drifting apart anymore. After that, I usually don’t even need to adjust the pitch anymore.
How do you do it? I’d really love to know, because I’ve seen a lot of DJs read this newsletter. At the end of the day, there’s no right or wrong. This is just the technique I developed for myself back in the day.
4. What’s in my Bag? - A peek into recent gig selections, new digs, and timeless records.
Last weekend I played at my residency, Junkyard, in Dortmund. We wrapped up the open-air season with one final party on the outdoor floor. I had the honor of doing the warm-up set there, something I really wanted, and thankfully, Paco, Junkyard’s booker, made that wish come true.
Originally, the plan was for me to play together with Dennis, a very old and close friend of mine, spinning Disco and House B2B. But unfortunately, Dennis couldn’t make it last minute, so I ended up playing the warm-up solo. And honestly? I loved to play House. I went fully into House for the set, and I was so excited about it.
For me, House is usually tied to summer; I tend to dig it out when the weather is warm and the atmosphere is bright. In autumn and winter, my taste shifts more toward the darker side: fog machines, strobes, and harder, moodier sounds. In those settings, House just doesn’t feel quite right to me. But an open-air dance floor in late summer? That’s where House really shines.
There’s also Oma Doris, a neighboring and friendly club in Dortmund. If you’ve ever been inside, you’ll know exactly what I mean: the space itself almost begs for House music, it just fits perfectly there.
Back to Junkyard: because this was the very last open-air party of the year, I wanted to take the chance to play House one more time in the right setting. And so, in this section of the newsletter, I’m showing you the records I played during that set. This time, I won’t write individual notes about the tracks; each record tells its own story, and I’d like to leave you with the music itself to explore and interpret.
There’s something beautiful about ending a season this way, closing the outdoor floor with warmth, groove, and sunshine vibes before the darker months set in. It almost feels like saying goodbye to summer through sound.
 © discogs.com |  © discogs.com |
#1 George Morel Featuring Heather Wildman - Let’s Groove | #2 Stacy Kidd - Guess I Never Told U |
 © discogs.com |  © discogs.com |
#3 G Flame - I Want You | #4 Hollis P. Monroe - I’m Lonely |
 © discogs.com | #5 Paul Johnson - In The Kitchen 95’ |
5. Top 5 by Me (Record Stores) - A handpicked selection, carefully curated each week.
 © yelp.com |  © mindmusic.online |
#5 Distortion Records Amsterdam: By far the craziest shop I’ve ever been to. Honestly, you can already guess from Google Photos what state the shop is in, but they don’t fully reflect the chaos. The place is packed to the ceiling with cardboard boxes and records. It’s almost impossible to walk through, because everything’s in the way. The owner sits all the way in the back behind a wall of records, and reaching him isn’t easy. But he’ll find any record you’re looking for, and the last few times I was there, he had some incredible techno crates. I wouldn’t say the shop is dirty, it’s just overloaded with boxes. Somehow, I really love it; it’s always an experience. Last week, I went back and had a quick chat with the owner, because he also stocks some of my records. He even speaks German. He did mention, however, that it’s becoming hard to find old techno records, since very few people are willing to sell them. I got lucky with two crates. Prices at Distortion are fair; I paid as little as €6 for an old-school techno record. Of course, he knows all the prices by heart. Go try your luck. And if you don’t find old gems, you’ll definitely find new releases. | #4 Audio-In Berlin: A really well-curated small shop, focusing mainly on electronic music. Sometimes you’re lucky in the “New Arrivals” section and grab a steal, or you take your time and dig through the shop’s crates. As I said, it’s not big, but it’s extremely well organized. If you’re looking for something specific, you’ll find it quickly. Personally, I always head straight to the “Chicago House” section for Dance Mania records, but also check the old-school techno shelves. Under the racks, you’ll even find 1–2 Bonzai Records-only crates, which is pretty awesome. Prices are fair, the records are usually in good condition, often seem to be cleaned (my guess), and come with new inner sleeves. One slightly annoying thing: every sleeve has to be pulled out, rotated 90 degrees, and only then can you take the record out. That takes time and sometimes kills my patience. Still, it’s worth it. Great owner, great selection, definitely recommend! |
📍 Westerstraat 244, 1015 MT Amsterdam | 📍 Libauer Straße 19, 10245 Berlin |
 © golocal.de |  © mapstr.com |
#3 Black Plastic Dortmund: My home, my place. I’ve always dreamed of working part-time as a psychologist and running a record store on the side. Honestly, I never had the guts to do it. For a long time, Dortmund and the Ruhr area didn’t really have a proper record store for techno, house, and electronic music. I used to bring my own records to Black Plastic and constantly begged Valentin, one of the two owners, to include techno and house in his selection. Back then, the shop was small. But at the start of 2024, they moved across the street into an old video store, a huge space, much bigger, beautiful store. Valentin told me, “Robin, we’re gonna add an electronic section, want to help set it up?” And of course, I was immediately in. Since then, I’ve been helping select new stock for techno, house, and other electronic genres, plus I help out in the warehouse whenever I can, sorting, organizing, whatever. It’s just pure fun. I love spending my free time there, even just doing mindless sorting work; it’s a great way to switch off. Now Black Plastic has a solid selection of both new and second-hand records. Lately, we’ve had a lot of acid techno, which I love, even if it’s fallen out of fashion over the past year or two. I think the 303 will come back strong soon, and people will be hooked again. Sometimes we also do in-store sessions, playing records, letting people dig and shop after closing time. There’s also a listening café right inside the shop called mono. Great atmosphere, great people, and every Friday they host sessions on an absolutely amazing sound system. Highly recommended! | #2 Crevette Records Brussels: Wow. I’ve only been to Brussels once this year, for Kathi’s birthday, and we went to this shop three days in a row, because we just couldn’t believe our eyes. The store is packed with old-school techno, and what records, seriously?! I pulled out at least 100–200 records to listen to, and when one of the staff kept handing me Dance Mania records one after another, well, that was the end of my wallet. It was just such an amazing experience, super fair prices, great condition, and crates overflowing with Tortured Records, Pounding Grooves, User… it was insane. We spent so much time sitting on their floor, digging, and I honestly can’t wait to go back! Brussels seems more house-focused? But they’ve got Fuse there, right? Or maybe oldschool techno just isn’t in demand as much? I can’t explain it, but hey, great for us. |
📍 Rheinische Straße 32, 44137 Dortmund | 📍 Rue Blaes 146, 1000 Brussels, Belgium |
 © discogs.com | #1 Spacehall Berlin: Spacehall is my all-time favorite when it comes to finding killer records. To be honest, it used to be my number two, because I preferred Record Loft in Berlin. But since that shop closed during Covid, Spacehall is undisputedly my number one. What a store. The vibe is calm, and before COVID, you could even smoke inside. You’ll find one gem after another. Sure, you can buy new releases there too, but I’ve never been interested in those. I’m in it for the old-school records, and they have so many treasures. Last time I went, I walked through the long, narrow shop to the back room where the electronics section is. They’ve made it a bit smaller than before, but still, it’s just full of gold. I kept pulling out amazing records, one after another. Some people think Spacehall is a bit pricey because of the condition of some records, but I personally love it when records go straight from a moving box onto the shop floor without much cleaning. If I wanted polished and sterile, I’d go to a chain store. That’s not what I’m after. I want the rough, the raw, the full experience. I’ve never left Spacehall without buying something. My white label collection, in particular, has grown massively thanks to them. Sadly, they’re only open on Saturdays now (11-20), which is a shame. But it also means I plan my weekends around them when I’m in Berlin. No way I’d travel midweek. 100% recommendation. I love this store; it absolutely deserves the #1 spot. And I’m already buzzing about my next visit! 📍 Zossener Straße 35, 10961 Berlin |
6. Community Pick of the Week by Dakou - One favorite from the community.
© discogs.com
#community #techno #peaktime
Tobias Von Hofsten - Swinger: Wait a second… am I wrong, or did we already have this release as our Community Pick of the Week before? Well, never mind, this record by Tobias Von Hofsten is definitely worth mentioning a second time if that’s the case.
Dakou wrote me an email pointing out the A-side, and I have to say: you’re right, Dakou, it’s my favorite side too. A classic Tobias Von Hofsten track, driving, with a light tribal character and those beautiful stabby synths. It’s built around a solid loop, fun to listen to, and designed to give the dancefloor a little breathing space again. I’m pretty sure I’ve written a sentence like that in this newsletter before, hahaha.
But that’s the beauty of a release like this: it has that timeless, functional quality you can rely on. Tracks like this don’t try to steal the spotlight, but they shift the energy in just the right way, creating room for the next wave. In a DJ set, that kind of moment can be just as powerful as a peak-time banger; it keeps the crowd locked in, grooving, and ready for what comes next.
Thank you, Dakou, for sending this beauty. Enjoy!
And just like that, we’re already at the end again. Writing this newsletter is just so much fun, I’ll tell you how it is. This Thursday, I’m heading to Dresden to play at Objekt Klein A. I’ve got the weekend off, and I’m already thinking about how to spend it. Slowly but surely, I’m also starting to feel the urge to get back into music production. After almost a year, the creative energy is starting to refill. I love that feeling. One thing I don’t want to do is force myself to produce; it has to come naturally.
Here in Germany, Friday is a public holiday: Tag der Deutschen Einheit (Day of German Unity). All the shops will be closed. By the time this newsletter goes online, I’ll already be on the train since 2:30 p.m. According to the plan, I should arrive in Magdeburg around 6 p.m., meaning I’ll be deep in the East of Germany. Well, we’ll see about that… Deutsche Bahn isn’t exactly known for punctuality. After that, I still have three more hours of travel. From Dortmund to Dresden, it’s nearly a seven-hour train ride in total.
So, I’ll really appreciate it if you drop me an email after reading this newsletter, maybe with your thoughts on the Community Pick of the Week.
And don’t forget: keep sending me your favorite track or record. Who knows? Maybe you’ll be the one curating the next pick in the Community section.
Simply reply to this email or comment here with a link to your favorite E.P.
Catch you next week! Be ready to drop the needle on my next picks.
Keep it spinning,
Robin Tasi @ Recycling Wax
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