Asquith and Deadbeat aren’t names you’d usually put together. The nostalgic nature of the former is a stark contrast of the latter’s dread Dub Techno. What they both share in common is an innate knack to provide a bruising kick. Will Ward’s ‘Space Bell’ is another release that carries such bombast. Described on Leisure System’s Bandcamp as an artist whose tracks portray ‘windswept techno’. Its brash sound serves perfect curation for events like Jaded at Corsica Studios, as is seen in this recorded set of his. Mixing in Truncate, Jones Kopp and Alex Bau, Ward selects cuts for the dishevelled patrons. Releasing EPs on Joton’s New Rhythmic and Audio Doughnuts, Will’s tracks certainly evince that of a seasoned composer. On ‘Space Bells’, however Will provides a cut to to follow a peak-time bomb at a cacophonous party.
One third of Circle Traps, Will was the central character who brought it all together. Speaking with The Trailer TV, he mentions being influenced by Fachwerk Records boss Mike Dehnert. The Berliner is adept at delicately sculpting a track, knowing masterfully where to position each element of sound. His tracks also diligently contain a perfect weight to them. Such influence oozes into ‘Space Bells’. It incorporates a triple note drum programming that is comparable to Leon Vynehall’s ‘Butterflies‘. Interlacing with the forceful drive of the drum, it is gratifying enough to just play the two as a tool. A fuzzy aura surrounds the track. Filtered hats give scents of white noise, creating a galactic atmosphere. The emotive bell patterns provide a petrichor palette similar to the tracks found on John Robert’s seminal LP Glass Eights. Brassy chords clamber, shrieking with trepidation. These sounds all feel grounded by the bass and drums, retaining a permanent swing to the track. Continue reading →
iO Mulen is part of a cabal of producers that includes Janaret, Ion Ludwig & Lowris, who straddle the line between the Romanian interpretation of Minimal and Deep House. Bewitching as much as it is functional, the sound is a certified crowd pleaser at its best. iO also part of a faction of DJs like like Tommy Vicari Jnr, East End Dubs and Traumprinz who tend to release purchase-on-sight records coveted by Discogs fiends. Listening to any of these producers’ tracks makes it’s pretty easy to see why. Having previously featured on labels such as Apollonia and Diynamic to name a few, it comes as no surprise that the Ukrainian found his way to One Records. Introduced by the great John Dimas, it surely is a shrewd move by Adam Shelton and Subb-an. ‘Na Latnem’ had already been signed to another label, but it was so good that Shelton begged for it to be released on his own outlet. Coming out in 2015, though it served as a B side you’d be satisfied if it had a full A side to itself.
The track kicks off with energetic drums and hats that resemble a live feel. Bursts of whistled air plumes give it a light tone. However, it’s deceiving in form as what comes next is bone-rattling. Replicating many of his other tracks, the bass is punishing, bulldozing the ears opting to be held rather than staccato’d. It’s the definition of what one may refer to as a ‘dance floor roller’. “I love to work with samples for arrangements by adding Roland Juno-60 synthesizer and Roland TR-909″ the Ukrainian told Magazine Sixty. Utilising horned samples, Mulen then elevates the track with pads drenched in reverb that permeate the Ibizan sun at dusk. Yes it’s a tool, but an epizootic one at that. Continue reading →
Tiga & The Martinez Brothers – Blessed (Dirty Mix)
Jerome Sydenham’s ‘My Pet Gorilla‘, Munkie’s ‘Progression‘ & Skrillex’s ‘Scary Monsters and Nice Sprites’ have the ignominy of all branding the same fate. They’ve all received under 2 on Resident Advisor’s rating system. It was a debate of many a commenter before the site took the decision to close the section down in early 2019. Most of the time you could roundly concur with RA writers’ thoughts. However, on this cut we must strongly put a case against their 1.7 rating. A meeting of three minds with the modus operandi to deliver vernacular fun was always going to sprout forth discombobulated funk-outs. Canadian veteran of over 20 years and head honcho of Turbo Recordings, Tiga has always brought his tongue-in-cheek approach. With staple releases heavy on the low-end like ‘Pleasure From The Bass‘ & ‘Hot In Here‘, it seems to contrast the nature of The Martinez Bros more Big Room hits. This makes for a collaboration straight from the vox populi. The two Puerto Ricans bring a shuffling vibe built for all-night partying. On ‘Blessed’, they all combine with Tiga to bring back a more minimal cut that truly does the business.
“These tracks are tougher, funkier and weirder than 99.3% of contemporary dance music, and it’s all because we were brave enough to get sincere and real.” Tiga told Electronic Groove. And it is these elements that make you recall the sound of mid-00s Minimal Techno. A bouncing, largesse bass drives forward like the best unsanitary Minus or Vakant release. Having previously worked on solid collaborations like ‘Bugatti‘ featuring GOOD Music boss Pusha T, Tiga knows how to spin a hip hop lyric on top of a 4/4 beat. The Martinez Brothers likewise layered down a dope interpretation of Jay-Z’s ‘H To The Izzo‘. In ‘Blessed’ it is Tiga who serves an inspirational bar lyric, reminding the the listener that they are blessed simply because they woke up this morning. Fuzzed hats sizzle alongside static robotic percussive clicks. The track is full of funk with the bass and hats alone, but the trio truly flex their muscles once the melody kicks in. A torrent of delayed, stretched and echoed bleeps, fiercer and more metallic than Rebukes recent hit ‘Along Came Polly‘ ascend and descend interwoven at will. With Tiga’s warped lyrics shimmering in and out, it is a bewildering experience. Continue reading →
Schneider & Galluzzi feat. Florian Schirmacher – Too Late To Land
In Maceo Plex’s recent Time Warp mix, the American DJ played a track dedicated to the festival’s 25 Year Birthday. He’s certainly not the first to have dedicated a track for such special occasion. Think Da Hool’s ‘Meet You at the Love Parade‘ or Mike Huckaby’s ‘The Tresor Track‘. Heck, type in Berghain into any streaming platform and you’ll come across hundreds of tracks titled after the notorious club. Already having the maestro Moritz Von Oswald dedicate the track of the year to their label, Cocoon really outdid themselves by dedicating a whole LP to the concept, Cocoon Morphs Tokyo. Hosting three parties at Japanese venue Womb, it featured exclusive bangers by Ricardo Villalobos, Tiefscharz and Guy Gerber. The highlight of these cuts, is Galluzzi and Schneider’s weapon of mass Minimal Techno destruction, ‘Too Late To Land’. Hearing the two collaborate for Minimal heads equals the creation of a DC vs Marvel movie for comic book fans.
The LP is also a celebration of the world-renowned German photographer and artist Andreas Gursky and Sven Väth. Andreas has been responsible for the design of Cocoon Club in Frankfurt, as well a many of the set designs featured at the Cocoon Parties. The cover art features a shot of the crowd below a poker-dots laced silver sheened curtain that draps over the dancefloor. The aesthetic is sonically replicated in the track. It starts with an ascending filtered chopper noise that harmonises with the modulation. Clever. Any producer wanting to learn more about the art of subtle glockenspiel percussion needs to rampantly study this track. The two so effortlessly displayed here click perfectly to give it soul. The muddied bass line bobs up and down in toe. Capping the track off though is the metallic, wonky, robotic synth stabs that darkens the tone. Similar to Schneider’s collaboration with Jay Haze ‘Acai‘, these are dialled up fifty notches to give the listener a jolting experience. Coupled with the drawled vocal saying ‘It’s too late to land‘ it leaves you in agreeance that you’ve gone way too far to stop the trip into outer space. Continue reading →
Before he became a DC10 mainstay, I saw Skream dosing out absolute piledrivers at Cable years ago, the Dubstep clubbing institution that was under the train archways near London Bridge. Carrying the virtuoso of genre-pioneers such as Benga and Kowton, it was in-your-face brash stuff. Looking at the scene’s most celebrated tracks however, such as Kode9’s ‘Samurai‘, The Bug’s ‘Skeng‘ and Joy Orbison’s ‘Hyph Mngo‘, the genre’s more mellow tracks can be just as commanding. Dutchman Dave Huismans, is the man behind the Dogdaze moniker, as well as the more 4/4 A Made Up Sound alias. Releasing on revered labels such as Tectonic and Delsin, as well as Red Bull Music Academy dubbing him as ‘inimitable’ is certainly an apt branding. Under his 2562 moniker however, you will find an artisan off-beat shake downs. ‘Embrace’ is one such track that stays true to its title, embracing a more finespun approach.
Dropped on fellow compatriot Martyn’s 3024 in 2009, it snuggly feels at home amongst other abstract-leaning musicians such as Leon Vynehall and Trevino. When chatting with Little White Earbuds about his favourite music to play when he feels down, he responded with Detroit’s Deep House legend Rick Wade. ‘Embrace’ certainly echoes such moody, powerful Deep House tropes. Beginning with a minor key, chords are stabbed hurriedly and delivers sentient vibrations. Dubstep is known by its half-time drum patterns, offering clashing BPMs between separated elements, creating a measure of space between the different layers of the track. The drums are raw and hollow, ascending and descending to variant notes on each half-beat. They share the vim of the bulwarking dub bass which drags itself into place like a stone into a quarry. Lastly, dusky pads serenely shimmer over the top adding to the meditative spirit that the chords bring. Continue reading →
If you’re a Techno pilgrim walking down the annual path of brain-warpdom to each major festival, up near the peak of the list will be the Dutch Awakenings Festival. Based in a club that hosts parties, the event is located in Eindhoven, usually at the gloriously imposing and mammoth venue of Gashouder. If you come across tINI & The Gang videos that have featured Daniela La Luz, Bill Patrick or any others of the crew, where tINI made her name, you’ll discover a completely different setting. In this set, however, she delivers an enchanting warm-up set which is more gloopy lava than a forceful flamethrower.
In her recent interview with RA Exchange, the Munich-born DJ states ‘I don’t do sub genre’s, just House and Techno‘. Clinging to the fundamentals, her style transcends all labels and is sedative, if not immersive, at times. Weaving through the dub techno leanings of Moreon and Baffa’s ‘Cloud 15th‘, Terekke’s ‘Bank 3‘ brings a lo-fi filtered Deep House to bring comfort to the ears. An ID-less track on 26 mins brings a East End Dubs like buoyancy that operates with a sensuality due to it’s nonchalant vocal sample. Looking by the amount of ‘Track ID’ comments on Soundcloud, it’s a track which some may sell a liver for. Going a bit left-field on the 40 minute mark is the classic Underground Resistance mix of Maurizio’s ‘Ploy‘. The second half of the mix get’s a bit more jacking and viscous on the drums with bangers by EMG, Mr Tophat & Art Alfie and Paul Jackson. Scattering flakes of trippyness on top, tINI finishes with Josh Wink’s classic ‘Don’t Laugh‘, a track that ironically features a vocal of a guy laughing his head off. Continue reading →
Neversea, like Sunwaves is the annual mecca for all Minimal Techno aficionados. Neighbouring the Black Sea, both festivals are in the beating heart of the scene Romania. Mixmag chronicles “the compelling power of Romanian minimal, a lean and intricate style popularised by frequent Ricardo Villalobos-collaborators RPR Soundsystem (Petre Inspirescu, Raresh and Rhadoo)”. It comes as no surprise therefore that the country has become the “staple in the planet’s finest dance parties, placing the nation firmly on the dance music map‘. This Premiesku set, recorded live by the Mixmag team in 2018 is a mirror reflection of such grand depiction. Celebrating the scene, the mix is infectiously groovy.
Livio, Roby & George G comprise Priemesku and bring an avant-garde perspective when it comes to the ‘Live’ performance DJs. Speaking with Electronic Groove they asserted to ‘really believe that a live act should be based on live jamming and using real instruments‘. Well these fellas take it to the supreme by designing three distinctive, custom-made hardware consoles. Each consists of parts from various machines that have been completely rewired, modified and re-patched. The recording first starts out with some intricate filtered synths and a muddied rolling bass. After some Chicago House influenced jams, at 16th minute comes their own release ‘And Other‘. It opens up with fluttering delayed horn stabs with echoed sonar sounds to create an epic soundscape. Continue reading →
Being part of a collective that was once referred to as “House music’s most lucrative supergroup“ is some feat. Such was the title given to Visionquest in the early 2010s. Part of the renowned ensemble alongside Lee Curtiss & Shaun Reeves (as well as formerly Seth Troxler), Ryan Crosser has always shared his crews ambition to push the boundaries of textures, while retaining an enthralling rhythm. His own production can be best described as a liquefaction of Techno, Tech-House and Minimal. None is more evident than in his 2014 remix of Igor Vicente’s ‘Mystericordia’, an unapologetic revelry of the mind-expanding sounds.
Igor Vicente’s original takes a more subtle approach, maintaining alluring mellowness throughout. Crosson’s interpretation on the other hand awakens the spirit of modern Detroit, elevating the intensity into benumbing levels.Conjuring up his contribution to Visionquest Records Bricolage EP, Crosson claims to source sound samples from the mundane, everyday life. “I used field recordings from the street, sometimes people would be doing construction on my building” he explained to Vice back in 2014. Nonetheless, the DJ’s processing in the studio interprets the banal in a aphotic fashion. The first half of the track is an amalgamation of white noise, isolated grand piano notes and comatosed vocal echoes. A misty, aquatic atmosphere often associated with his longtime collaborator and friend Cesar Merveille has clearly rubbed off on Crosson. Meanwhile, the spaced-out thumping of a kick repeatedly increases in tempo. This is almost a reflection of the dancer’s heartbeat, about to enter a delirious state. Once the standard 4/4 looping of the drumming percussion clangours into the mix, its impact is thunderous. The heavy sidechaining of the choleric bassline dynamites the listener into the extrasolar. Continue reading →
Guillaume and The Coutu Dumonts – Fair Is the Field
DJs such as Floating Points, Francesco Tristano and Oliver Coates reached the peaks of the Underground by transferring their formal musical training into the Electronic sphere. Another fine example is Guillaume and The Coutu Dumonts. Montreal-born DJ and producer studied latin and classical percussion, and even played in a live funk band prior to undertaking the decks. Now a recognised name in the scene, his previous education has granted him an edge when it comes to his production. Unsurprisingly, his byzantine sound has seen him perform alongside Luciano, M.A.N.D.Y and Visionquest’s Cesar Merveille. His enticement for experimentation has been noticed by the DJs who share his enthusiasm. Released in 2018 on Musique Risquée as A2 of his ‘Shouts, Moans And Significance’ EP, ‘Fair Is The Field’ is a wizardous marvel that demonstrates the level of Guillaume’s savoir faire.
At its simplest terms, ‘Fair Is The Field’ is Ibiza‘s answer to John Coltrane. The sense of freedom exercised by the floating key notes that are with the skill of Bill Evans is only matched by the accompanying saxophone. Less than a minute in, the listener is introduced to a bass you’d expect from Serialism Records. Guillaume’s sophisticated percussion work landed him a release on Watergate Records with 2015’s ‘The Drums‘. What is heard on ‘Fair Is The Field Field’ come to be no exception. The samples of wild birds hooting evoke a tingling sense of finding oneself in a venue situated out in the jungles of Ecuador. ‘I love this music..and it’s 24 hours a day…You hear the same?‘ asks a husky narrator’s voice, the music fading out into oblivion. The returning amalgamation of components throws a ramshackling synth into the mix. With a potency that would take Alice back down the Rabbit Hole to the Wonderland, the track is intoxicating even at the most sober state. Continue reading →
Although we don’t like to emancipate in the underground, there are a still a few ‘trophies’ one can nod too. Closing at Time Warp. Playing at CircoLoco, DC10. And, of course, playing at Room One fabric. To get an even better nod, was to get a slot on their acclaimed Mix Series. Omar S, Shackleton, Ricardo Villalobos and Peter Inspires all had mixes that featured their own cuts. Mathew Jonson’s is different however. Not only did it feature exclusively his own production, it came from a recording of him playing live at fabric. His set was so good that the fabric team decided to put it on a mix cd. Being in awe of such a producer and DJ, the quality of his tracks made this decision easy. From the genre-defining ‘Decompression‘ (released on Minus), to ‘Dump Truck‘, a product of his collaboration with Danuel Tate and Tiger Dhula as Cobblestone Jazz, Jonson has many strings to his bow. And they all shine the brightest. His 2017 collaborations with The Martinez Brothers and Martin Buttrich were certainly an escapade in unadulterated dancefloor fun. What Jonson is most notable for, however, is his brand of emotive, bare-laden, minimal cuts. ‘Typerope‘, ‘Learning To Fly‘, and ‘New Identity‘ all summon such branding. None more than ‘Marionette’ though. Released in 2005 on his own Wagon Repair label, the track is the ultimate in chiaroscuro disposition.
Don’t get it twisted, Jonson is the major-domo of inculcated synth stabs and manipulation. Where others bearing such style may seem a tad ostentatious, knowing his background indicates he is one for for untrammelled experimentation. Beginning with a splurge of synth stabs, the melody is played with the subtlety of a classically-trained pianist. These notes are, however, performed with the sinisterness of Sergei Prokofiev. Syncopated in the highs, mids & lows they’re a reflection of Jonson’s freewheeling Jazz heritage. In conversation with Roland he remembers receiving his first piece of analogue back in 1986, a collection of MT-32 sound module, PR-100 sequencer and an HP-3000 electric piano. The SH-101, however, is the main weapon of choice for his music and was ‘used in combination with the JX for Marionette’. If you hold a preference for blippy minimal, I would steer clear. An ample kick then kicks in giving instant vivacity. Using an Ensoniq DP4+, ‘Marionette has a modulating distortion that slowly mixes between wet and dry signals’. It’s a momentously disorientating effect. Chopped hats with a touch of reverb flutter to add to the headiness. His tracks ‘Symphony for The Apocalypse’ and his remix of Joel Mull’s ‘Begun The End Has’ are moulded with similar mordant tones. Eery string synth pads warp in and out munificently, adding to the cinematic effect. To describe it as mystifying would be a criminal understatement, even sibylline one might say. Continue reading →