A resident at Berlin’s Berghain nightclub and a cornerstone of the club’s success, it’s little wonder the city’s native Ben Klock stepped up to take on the fourth release of Ostgun Ton’s compilation series, dedicated to the mighty techno club.

Berghain 04 comprises the techno, minimal and slight dubstep sounds you’d expect to hear at the club itself, with a smattering of house thrown into the mix for good measure. So far, regulars of both Berghain and the Ostgut Ton label have been chosen to compile mixes for the Berghain series – starting with André Galluzzi, before moving to Marcel Dettmann and Len Faki – so Klock is an obvious and sensible choice to pick up where those before him have left off.

While his isn’t a stellar job, the mix is wholly palatable, just the same. Here, there is a marked shift from the grey shades of sound he produced for last year’s One – this time evolving to slightly more upbeat club territory, with more tunes that jack the body (and a few that don’t).

There’s a sleepy start to Berghain 04 that belies the sparks igniting further along the way. April is a soft awakening into unknown territory, reflective of nothing, leaving you quite unsure of what to expect next. And so it goes for the next 10 minutes or so. The church organ sounds and slightly monotonous melody of Pressure jar with the ghostly male vocals of Work, leading down a road to nowhere.

Then, subtly, the first of the fireworks. Mini Luv rides high, led by a fantasy-driven melody, the first track with the power to pull you in. But that’s typical of a Martyn production. It’s a beautiful, multi-layered piece, and the real start of the mix, dragging you into the dark, blurry rush of a night spent blundering, drinking, marching – a night that is in the end recalled with vague memories. Deeper it marches, the bass-driven, fast-paced Long Life and its minimal melody of grand proportions reeling you further in.

Veracity hits another mark in the road, with its tribal drums, industrial echoes and mechanical beats, leading the way for the ever darker Confused. This is underground beauty at its best, forcefully driving listeners deep into the dancefloor. This is the night’s core – a heaving, all-encompassing head-fuck.

Before everything gets a little too caught up, house pulls things upwards, dragging you back to reality with it. The shaded whispers of “Detroit” and “Chicago” over the warped melody of De Cago make it a good tribute to both, and gives way to an almighty drop into 7am Stepper. Kevin Gorman’s wonderfully dark, multi-layered textures of tribal beats, automated bleats, corroded twangs and underwater blips are short-lived, quickly given light by Klock’s own hitherto unreleased oasis, Compression Session 1 – a warm, blissed-out track, and a reminder why Klock’s been heavy on the radar in the past couple of years.

Nuthin Wrong will appease the deep house disco collective, while Graphic is something of a toilet break track. If you haven’t yet heart Klock’s Elfin Flight, a collaboration with Elif Bicer, then don’t hesitate – it’s just the kind of pared-back, throbbing techno you’d expect from the Ostgut Ton mascot.

Rounding things off, Rolando’s Junie brings a beautifully slow finish – a melancholic yet feelgood track to take you out of the techno trance Berghain 04 is likely to cast over any vulnerable listener. Never straying all too far from what it set out to deliver, Ben Klock’s Berghain 04 showcases the kind of techno that’s subtly satisfying – and that’s just where its beauty lies.

Berghain 04 is out now on Ostgut Ton through Stomp.