Dubspeeka – Mod1 (Original Mix) [TECHNO]

Dubspeeka - Mod1 (Original Mix) [MELODIC TECHNO] Finding a place in Joey Anderson's majestic Dekmantel set earlier this year, Dubspeeka's Mod1 is a techno tracks that's an apex of a memorable mix.Dubspeeka – Mod1 (Original Mix)

Darren Beale, better know by his stage name Dubspeeka, is a producer hailing from the dynamic Bristolian scene. Beale’s signature sound carries a shade of duskiness. In his interview Change Underground he claims that his releases tend to have a ‘solid foundation, plenty of low end and a dark raw angle on the production‘. This hue of Techno has seen hims cuts released on big-player labels like Oliver Huntemann‘s Ideal Audio, John Digweed’s Bedrock Records & Drumcode. Since dropping his previously elusive persona, he has been involved in shenanigan inducing gigs in Johannesburg to parties in Poland with Crosstown Rebels. Released on his own imprint Skeleton in 2017, ‘Mod1’ is a meld of modulated techno with progressive & UK bass influence. Finding a place in Joey Anderson’s majestic Dekmantel set earlier this year, the track is an apex of a memorable mix.


As a DJ, he’s not afraid to incorporate House into his sound, as shown in his Rinse FM mix with Shadow Child. This translates into his productions as more often than not have a flamboyancy about them. Coming under a strain of versatility his releases straddle along the lines of techno & tech-house. No wonder he was tapped by Get Physical for a mix of a Miami 2018 comp. Mod1 starts with a hollowed kick drum rendered from a dancehall cut you’d see on a Wizkid or Konshenz track. Raining arps collide to form a parade of refined consonance within itself. ’Mod1′ shares the staccato synth seen in his 2016 release ‘K377 Unfriended‘. The fitful melody that forefronts the midpoint of the track, sprays its frequencies with celerity of Rambo’s machine gun. It is a complimenting polarity to what is an Alan Fitzpatrick inspired, reverb-heavy kick and bass combo. In such, more canorous leaning DJs like Mind Against featured it in their Junction 2 launch Tobacco Dock set. Atmospheric yet hulking, ‘Mod1’ commands the dancefloor with its heavy dosage of electricity. Continue reading

tINI – Blond Galipette (Martin Buttrich Remix) [TECH-HO– USE]

tINI - Blond Galipette (Martin Buttrich Remix) [TECH-HO-- USE] Remixing tINI’s Desolat-released 'Blond Galipatte', Martin Buttrich brims his engineering skills on full display, demonstrating his penchant for groove.tINI – Blond Galipette (Martin Buttrich Remix)

Mixmag recently published an article regarding the homogenisation of Tech House. Ironically, the article’s author himself produces music that is fairly detached from the Underground scene. ‘Passable Tech House’ it has been dubbed, due to what Toolroom Records boss Mark Knight describes as a writers block of sorts, no one willing to take any risks. In it, Mannheim legend Nicky Curly labeled some of the curations as ‘repackaged EDM’. Taking a quick scroll of the output in question and you’ll be hard pressed to disagree. Amongst the constantly rising muck, however, you’ll always have your disruptive producers. One as such is Martin Buttrich. An engineer for Loco Dice as well as the rest of the Desolat crew, the German is one of the finest machinists in the genre. Remixing tINI’s Desolat-released ‘Blond Galipatte’, shows his brimming engineering skills on full display, as well as a penchant for groove. Dropped in 2013, it’s a fattened version of the original’s Minimal threadbare leanings.


Martin mentions his love for presets in an interview with Native Instruments, describing the easy use of Maschine. Using a simple preset percussion loop to get things kicking, automatically gets things rocking. It is similar to the bongo like percussion played in Clarian’s 2012 Life and Death release ‘Shine’. Thumped with the conviction of a Papua New Guinean tribal ensemble playing a war dance tune. A heavy lashing of reverb ensures it is ready for a Big Room Junction 2 festival vibes, as much as tINI & the Gang Ibiza beach parties. The more you listen, the more soundscape elements you can pick up. The hats sound of a tick ticking clock, starry keyboard stabs glimmer. Zipping alien and radar noises are bleeping in and out. Cut from the cloth of a TB-303, the undulating dense bass then marshalls it’s way to the front of the pack. Sequenced in the same beat pattern as the original, sampling female French vocals, and a playful chopped vocal seen on a Martinez Brothers‘ track keeps the listener on their toes.

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