Steve Stoll is one of techno music's greats. Starting out originally as a drummer in industrial band Wax Trax, it was no coincidence that he later became one of the masters of drum heavy techno. Steve epitomised the raw minimal sound of '90s New York, through a near endless line of releases on labels including Trax Records, Novamute, Music Man, Djax-Up-Beats, Richie Hawtin's Probe, and of course his own aptly named Proper (which later spawned the 212 Productions imprint). He also formed collaborations with Damon Wild (as Voyager 8), Ken Ishii (as Kjoh Zon) and Pete Namlook (as Hemisphere). Outside of producing techno and playing live sets, Steve has been busy working with Front 242's Patrick Codenys (a new Gaiden album is soon expected from the pair), writing loop packs for Ableton, designing his own synth modules and fx pedals… and that's just the half of it. He recently appeared on Detroit's ASRX, anchoring two fine 12"s, with this new release on Earwiggle being his first full solo 12" in over five years. Following on from Steve's famous saw shaped vinyl series that delivered 'Hyperrealism Parts 1 & 2' in 1995, Part 3 has now arrived, except this time on superior round shaped wax! 'Hyperrealism Part 3' marks a timely update of the harder New York techno sound. A grinding analogue bassline is tweaked to perfection throughout this monstrous peak-time track that once again displays Steve's sonic astuteness in making a seemingly minimal, straight ahead groove become something far more powerful and dynamic. One for big rooms and underground spaces everywhere. 'Machine Riot' is literally just that. It's a riotous machine led adventure, with a raucous lead (his vintage Buchla synth is all over this record) and extra sturdy 909s underplayed by subtle but effective, interchanging loops. A magical slice of strobe-lit, heads-down techno; you know things are kicking off in the place when this gets played. 'Stained' rounds off the ep in a more experimental vein. Reminiscent in part to Nine Inch Nails, this is a fine example of Steve's superlative sound design - mixing bit crushed broken drums with soaring choral atmospherics, to deadly effect. A stylish end to one of 2011's most proper techno records.