tINI – Awakenings Easter Special
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
DJ Hell – Anytime, Anywhere (FJAAK Remix)
Seeing FJAAK’s humorous Facebook profile picture, gives you the impression of why their music is so brash. It’s ironic that they would remix one of the most brash men in existence, just going by name alone, DJ Hell. A highly influential German institution, the International Deejay Gigolo label boss has a penchant for not giving a toss. Being sued by Arnold Schwarznegger for brandishing him in his techno label. Frequently using provocative risqué EP covers. Relationships with the High Fashion Elite, Karl Lagerfield and Donnatella Versace. Making tracks with Bryan Ferry and Puff Daddy. With such diversity of interests, and willingness to push the boundaries, Hell has helped bridge the gap between Electroclash scene and Techno. Way back in 2013, when asked by Housecult for their picks for artists to look out for, FJAAK quote Attu, Willie Burns and The Analogue Cops for their ‘Raw but powerful sound!’. Fast forward to 2018, and FJAAK’s sound would be described as more than that. Released this year, FJAAK turn the original into a belting Techno cut. So good, Nicole Modabeaur played it twice in her recent Awakenings ADE B2B with Dubfire.
Speaking with District Magazine, Felix, one of the techno trio members, comments that his biggest influence was Bone-Thugs-N-Harmnony. This affinity for booming bass has leaked into their sound. As seen on their remix of Missing Channel’s ‘Onslaught’, and their own original ‘Keep The Funk‘, the sub bass they produce rivals the best. The bass modulations heard in the track move with an inexorable propulsion. Very similar to ‘Ninex 9-C‘ by Maetrik. The original tracks sombre synth rails are dialed up 50 notches, bringing voluble buoyancy. Akin to Sleeparchive or S:VT’s. Emotional, the organ synths from the original have been put through a grinder causing catharsis to counterbalance the doughty nature of the track. Distorted noises and triple time drums complement the track, showing FJAAK’s full compliment of skills on analogue machines. Continue reading
Artbat – Wall (Original Mix)
Awakenings Festival is renowned for introducing its crowds to pulsating techno anthems. Headlining DJs like Amelie Lens, Len Faki & Rebekah cater to the high-octane atmosphere by tending to bring their most thunderous finds in the crate. Artur and Batish, better recognised by their stage name Artbat, know how to create a banger that enraptures the breathless crowd with its elevating linear progression. If we were to select one track to strike while the iron is hot, then surely this nuclear bomb by the Kiev duo would be in contention for our pick.
The essence of continuous build up makes this an archetype track for the mainstage, that may carbonate across the sets of titans including Richie Hawtin. With the Plastikmann using the duo’s releases to compliment his sets before, such a top-tier endorsement witnesses to the quality of their production. A rippling synth line, drenched in reverb and supported by an anchored kick initiate the proceedings. Think Alex Metric with a shade of Denis Horvat. All this leads up to a drop around the 3 minute mark that shatters with the annihilation of the Cloverfield monster. What proceeds is an unabiating odyssey through the undiscovered edges of the galaxy, all the while supported by sensuous female vocals and Mind Against-style synth eruptions. As the final sweep completes the outro, the Martian voyage closes its chapter. Continue reading
Oscar L – Primewire
Oscar L is making huge waves in 2018 with his cavernous Techno track ‘Monster Tube‘ getting huge play this festival season. Joseph Capriati opened with it during his Awakenings Festival set recently to aplomb. Released on Adam Beyer’s Drumcode Record’s sister label Truesoul EP ‘Multiplayer’, ‘Monster Tube’ was just one of a few recent Spaniard’s banging peak-time cuts. ‘Primewire’ is a destructive howitzer, that deserves all the accolades available on the table at the DJ Awards Ibiza if there ever was an award for the ‘Techno Tool of the Year’.
The track seems primed for the apex shenanigans Ritchie Hawtin or Dubfire to renovate during one of their sets. Double-note bass bounces with the fervour of a late-running express train and ensures heads are bopping. A powerlifting start that would normally be found on a SCI+TEC release, gives the track a real oomf from the off. The knocking percussion adds the final molecule needed to complete the chemistry of a robust rhythm. Filtered ratchet noises hover around your head to raise your appetite for some fierce Techno. Hi-hats can really make a track and the ones on display are premium. The cherry on the cake however is the ‘doing’ like bleeps that any fan of Minus would appreciate. Continue reading