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 →
Who would have thought that Ben Klock would drop a set under 130 BPM? Repping the Resident Advisor booth at this year’s DGTL Amsterdam, the Berghain resident delivers a masterful ‘House Set’. DGTL has spread its wings to deliver finely curated festivals under its branding in places such as Barcelona, Madrid, Sao Paolo, Tel Aviv and as far west as Santiago, Chile. DGTL is known for its cutting-edge ability to blend Music with the Arts. This year’s installation collaboration with Ace & Tate is proof. Seeing as Klock himself is also renowned for his amalgamation of live production and music, as seen in his Photon parties, the set he provides here is one for the ages.
Though it’s been labelled as a ‘House’ set, it can be more accurately described as diluted Techno. Ringing up the curtain with a dark tense beginning, the magician DJ seems to lock a chastening groove over the dancefloor. Dropping Marco Shuttle’s ‘The Moon Chant‘, the Berliner follows up with cuts from the stellar New York label L.I.E.S., as well as Mandingos ‘Another Dub On Earth‘. Succeeding comes DJ Hell’s drum-focused 1998 classic ‘Jack The House’, a nasty malapert track that will send the most rigid of dancers into lunacy. Laying down full on breaks near the half way mark, things go full alien EBM on the Identified Patient’s ‘The Female Medical College Of Pennsylvania‘. Close to the wrap up Klock goes full Berghain mode with Biemsix’s ‘Clear‘ serving some sublime Dub Techno. The German veteran then finishes off with Kevin Yost’s irrepressible, time-transcending track ‘It’s Getting Bigger‘. For those familiar with the Techno titan, the set may feel more flaxen than his usual raucous sound. We see this is a testament to Klock’s savoir faire.
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 →
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 →
Jon Hopkins’ ‘Singularity‘ album featured sounds as dense as Beijing’s pollution during peak-hour traffic. Leading from the front, the title track ‘Singularity‘ announces itself more grandly than the UEFA Champions League final. Exploding into the oblivion and giving semblance to its title, the track leaves the listener begging for more. Step forth Brazilian-born artist ANNA. Though the DJ Awards carry less weight than a Trump speech on Russian collusion, her 2016 Breakthrough Artist of the Year award was fully deserved. It was almost impossible to have avoided hearing her Kompakt backed track ‘Hidden Beauties‘ feature in any of the headlining Techno sets of that year. With fine releases supported by labels such as Terminal M, Tronic and Toolroom being delivered since 2012, it was only a matter of time before ANNA reached peakdom. Some can let the pressure of a massive hit get to them – not for ANNA it seems. Continuing her hot streak form, her ‘Singularity’ remix keeps her unequivocally in the limelight.
According to Resident Advisor, the original track utilised field recordings of thunder. ‘The track is supposed to have a dangerous, foreboding sound to it‘ explained Hopkins in his ‘Machine Love’ feature. It’s a thing of uncanny beauty in the way the elements drone. On her remix, ANNA decides to paint a picture of the entire world encountering an apocalyptic thunderstorm at once. The track starts with the use of the original’s swelling drones. While Hopkin’s version unravels in swelling, the bass of the remix drops harder that Thor’s hammer in Ragnarok. It’s a ditto of the ‘Hidden Beauties’ bassline, played in a clockwork rhythm. In conversation with Ask Audio, ANNA recalls that her take was made using the Furthrrrr Generator module. Describing it as mightily powerful is an understatement of titanic proportions. Dropping in a hulking kick and swelling cymbals, the original’s classical organ line simmers over the top. It is a brooding end of the world sound native to a movie such as The Day Earth Stood Still. Stabs of the modulated bassline kick in louder and louder before being held in distortion. It’s heinous, akin to Leatherface obliterating your face with a shotgun. The breakdown retains the instrumentation of the original waiting for the kick to usher back in the remaining elements of the track. This leaves the listener picking up the pieces back together. The end result? Dancefloor destroyed. 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 →
You’ve got to hand it to those YouTubers who are the heroes we need but do not deserve. A vehicle for upcoming artists to get their music promoted, it certainly has its uses on the other side of the spectrum. Frontleft365 covered some of these in their fantastic feature that included interviews with Houseum, Slav and CMYK. Growing in number, such channels have offered not only exposure for those looking to get their name out, but also serving as inspiration to fellow producers. These have been in particular rich in genres of early 90’s IDM, ambient, breaks, jungle, techno and trance. Thessa Torsing aka Upsammy’s 2018 Dekmantel set was a beautiful, meandering sound safari covering the aforementioned genres with a retro tint. Hailing from the Netherlands, her ascendency has been no short of paramount, rapidly moving from playing in local clubs to nights at Panorama Bar. Her productions have been cherished and treasured, bringing a mix of breaks, Techno, IDM, ambient and Trance. Releases on Whities & Die Orakel gathered great attention, called upon by Mr Fingers for a remix alongside Joey Anderson and Kode9. ‘Another Place’, the titular cut on her 2018 debut EP on Rotterdam Label Nous’Klaer, is a mutative beast that is utterly mesmeric.
In conversation with DeSchool, Upsammy recalled her father having “loads of electronic mix CD’s, like Tiësto’s Forbidden Paradise, so [Torsing] listened to those.. growing up. Another major influence was MTV Lounge Vol. 3, with artists like Moby and The Future Sound Of London‘. ‘Another Place’ is an emotion-led, retro futuristic track, cut with a different cloth that uses the same blueprint. Pick any track from the nostalgic YouTube Channel, 2trancentral and you’ll find the same esoteric tropes written all over. Indulged in delay from the off, chimes and a bleep knock echo and streak through both ear canals. An drum pattern that goes into double-time on the second 4/4 beat keeps things off kilter. This all happens before a razoring dubstep & techno hybrid bassline, akin to one found in A Made Up Sound‘s (aka 2562) ‘Crisis’ enters. It also carries the same urgency as of Shed’s ‘Wax 1001B‘ acid lick. Blissful and alien synth-lines supersaw and oscillate, sounding straight out of a Roland J-8000 or Access Virus A/B textbook. Droplet sounds play out in assorted patterns in the background, before a minute long breakdown set ups the most euphoric of atmospheres. The bass then drops combined with the precision of the cymbals to truly transport the listener to a place far distant. Continue reading →
DJs such as Magda, Joris Voorn, Paco Osuna and Guti all like to edit tracks live. Their styles of mixes are characterized by chopping up and remodelling tracks at will. You cannot get away with playing a track for 20 minutes straight without it permeating exhilarating energy. Our previously reviewed Vladimir Dubyshkin’s ‘Overland Train‘ is one example. Another is a track that was played by Dubfire in his 2017 Time Warp mix. Step forth Maksim Dark’s ‘Laplander’. This 2018 release was a perfect fit for Dubfire’s SCI+TEC label, with it’s penchant for sleek, robotic Big-Room releases. Hungarian collaborators’ Paul Strive & Zenbi’s ‘Wanna Tell You‘, or Rosper‘s’ ‘Revenge‘ are a few which carry similar bleak candour. ‘Laplander’ is a cavernous release, bringing predatory ardor akin to label boss’ Dubfire’s hit-release ‘Roadkill‘. Hailing from Russia, Maksim has released Techno on a slew of labels such as Sian’s Octopus as well as Der Hut. Being included in his third release on SCI+TEC, this stalwart Techno track will blow hearts and minds.
Maksim’s 2018 collaboration with BOHO ‘Octopussy‘ was likened by Progressive Astronaut to being ‘a dark and Alien track that casts a spell over you and will be stuck in your head forever’. A homogenous tone can be applied to this track. With a title of ‘Laplander’ you can be sure it was inspired by the harsh, panoramic nature of the Artic climate. Beginning with a gentle touch percussive pattern, the intro brings an allusion to the forthcoming proceedings. Trembling with fervour, the opening bassline induces sentience, conceiving a techno-advanced environment. Pulsating cluttered sonar bleeps add to this bane world. An eery string synth splays itself. Eventually, a scourging modulated synth rockets up and down the octave with largesse. It is a truly jolting experience, reminiscent of Maetrik‘s best cuts. As the components repeat in a loop, the bass and synth elements increase in loudness within the mix. Maksim is a master manipulator at infernal vocals, as can be traced in many of his other productions. A vocal appears to croon either ‘West Phenomenon‘ or ‘Voices Nominal‘. The brusque nature of the sample makes it hard to make out. What is for sure, however, is the fact that this chant helps create insensibility on the dancefloor. The chimes that play in and out before the break down are neurologically invigorating. All before being swept away by leviathan modulation. 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 →