Are you feeling energetic? Actually, don’t even bother answering. Because after hearing Robert Dietz’ “Soup Opera,” you’ll have stamina for days. It’s a charging, standup bass burner that puts house sounds to techno purposes; it’s a wolf in sheep’s clothing, a rainstorm at the open-air-a monster, simply put, that leaves you drenched and grinning from ear to ear. Frankfurt’s Dietz has been on fire for the past couple of years, turning out tight, percussive and above all memorable tech-house concoctions for the likes of Runing Back and Cecille Numbers, but none of his productions to date have had the full-on intensity of “Soup Opera.” Raw, Chicago hi-hats lash out against a rising/falling bassline as midrange drones and fluttering tones keep frothing higher and higher; the way he mans the filters feels more like sculpture than music, carving away the bass to create a dizzying sense of floating in space, until gravity comes crashing home again. Laced with birdsong, “Aurel in Wonderland” is a more pastoral affair, dappled with rich, acoustic percussive sounds, its African palette opening up into a bittersweet minor-key melody. For all its sensitive heart, the track’s got backbone, with a whipcrack jack offset by supple, unquantized drums; beat after beat, it’s a slack rope pulled taut, and the force sends you soaring into a galaxy of butterflies.