For René Pawlowicz (or Shed, if you prefer), the Equalized series was a way to exhibit his taste for rigidly and primitively structured techno, in a way far from the melodic and spatial filigrees of his album work on labels such as Delsin, Ostgut Ton and Subsolo. Presented at first as an anonymous and mysterious project, the fact that it’s him behind the project doesn’t take away any of its value, nor does it add extra glamour to the final result: come its fourth chapter, the Equalized project is still as crude as always, with the exception of volume 3, which, whether it was because it was fashionable at the time or not, included a few dubstep influences. But this Shed production has nothing to do with either melody or passive contemplation: they are club tracks, nervous, rigid, repetitive and with hardly any surprises. The end the way they start, and only in the middle of the record something happens that breaks the routine. Pure tracky techno, without exhibitionism, functional for the dancefloor, direct and rocky. The first track on the A-side, is situated within this aesthetic frame: a rigid kick drum, a snare that sounds like a wasp’s nest, a hypnotic embellishment reminiscent of Detroit 1989, and on the B-side the same thing, only with a tougher and even more minimal focus, as if Shed wanted to pay tribute to Robert Hood, Jeff Mills and the pioneers of minimal techno that pumps like a heart after a sprint. A gem for the purists.