Butch – The Spirit feat. Hohberg (Adriatique’s 7am Remix)
The concept of a remix dedicated to a specified hour is a recurring motif in the Underground scene. Some examples include Christian Smith & Wehbba’s 3am Mix of Laurent Garnier Techno classic ‘Flashback, as well as After Hours’ ‘Waterfalls‘ (4am Mix) and Subb-an’s 5am Dub of ‘Move‘ . The idea behind the approach suggests that a certain sound in production can be association with a particular time of the night. Swiss duo Adriatique have tackled such approach in their remake of Butch’s Watergate Records release ‘The Spirit’. Coming from Butch’s 2015 album ‘Songs About Unconsciousness‘, the Adriatique remix deconstructs the original’s Big Room approach into something more contemplative.
Titled ‘The Spirit’, the track was influenced by the idea of collective essence. However, while Butch’s version feels like a tribute to the soul of clubbing, the Adriatique take is more introspective. The track is characterised by gentleness throughout, whether its the timid kick or even the piano rolls that hesitantly enter the frame at the breakdown. Though percussive samples add lighter shade to the mood, they play a secondary part to the gracefully looped arp. Core to the overall atmosphere is the ghostly pads that pierce the inner depths of the mind with a sense of saudade. In such, the intensifying progression of the original is replaced with a meditative reflection. This is further amplified in the extended 15 minutes edit of the remix that lets the listeners mind simmer in its sombreness. Continue reading
Heiko Laux feat. Diego Hosteller – Canis Major Pt 1
Recently seeing Azimute and Perlon legend Sammy Dee at The Egg London, they were hippocratic to the noobs. Playing relentless minimal bass driven cuts, such as DJ Sneak, Egoexpress & A Guy Called Gerald. Once Green Velvet’s ‘Thoughts‘ hit, the dancefloor hit a height of deranged lunacy. The place was a true sweatbox, fans of Stanley’s would’ve enjoyed. Heidi Laux’s ‘Canis Major Part 1′ is one such that is bass driven, but nostalgically harks back to mid 00’s minimal engineered for such parties. As mentioned in this interview, Heiko always has a theme for his tracks. The benevolent feeling gotten from the unfathomable buzzing noises Fernweh was created on the tension surrounding the Arab world in 2014. Dropped on Josh Winks’ Ovum in 2013, ‘Canis Major’ is battle ready for those in-flight Watergate nights.
Also operating under Offshore Funk for more free spirited affairs, Heiko Laux cuts are for dancefloor drive only. The bass is crafted for such, muted and flat, it is still heaving in it’s expanse. Fan’s of Martin Buttrich & Guti will appreciate. Chords stab on the same notes as the bass to add for the groove, moving up the note scale 2 notes to help get bodies uncomfortable. Similar to Guy Gerber & Shlomi Aber’s ‘Sea of Sand‘ in the way the synths crackle, super bleepy keys jilt. It’s ultra erratic perfectly balancing the freaky nature of the track. Steamy hats add to this, and as he is also inspired me all audio noises, adds in faint field recordings of birds chirping. Quick laser stabs are fitting with ripple effects for a guaranteed warped out party. Continue reading
Quenum – Vault Element
As one half of the formidable Production/DJ duo Azimute, Quenum is a well known name within the Minimal appreciation circles. Co-producing one of the greatest Minimal tracks of all time in 2003’s collaboration with Luciano, ‘Funky Orange‘, as well as seminal collaborations with other Swiss collaborators Daschund & Lee Van Dowski. Quenum’s cuts tend to be as inventive as a Russian Sports Chief’s denial claims during a doping probe. We first heard ‘Vault Element’ in 2008 on a Sven Väth’s Ninth Season CD, and it was a track rather unconventional even for the conceptive genre of Minimal. Ever since, it has been one of our go-to tracks when introducing a novice to Minimal Techno.
‘Vault Element’ makes one feel like they’re encased within a vault which in this context is the dancefloor. In the majority of his tracks Quenum lashes the mix with a plethora of percussion and it’s no different here, with the melody carried by a noise created through a hollow but aluminous object hitting a desk. Chopped up mutant voices belch ‘time’, adding a real sense of eeriness to compliment the off kilt piano stabs. As soon as your ears start to gauge what’s going down is when the the track truly unravels. Piercing the cerebral like a vengeful mob hitman are the strident laser stabs. Sounding like they’re meant for a hard trance track, slowed down these have the force of a plasma beam intentionally placed to send the dancer into a galactic trance. Continue reading