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 →
While many producers opt for a sound pallets which seamlessly compliment the kick, idiosyncratic production can often strike gold. Floridian DJ Daniel Gomez, better known by his stage name Danny Daze, has a special fondness for avant-garde computerised sounds, as shown in his FACT Magazine Against The Clock segment. Claiming in his interview with Electronic Groove that most of his “influences come from the melting pot that is Miami”, Daze ravels in versatility. His own catalogue is a testament to such approach. You can find releases ranging from his caliginous Hot Creations Deep House collaboration with Louisahhh to the synth-parading Kompakt anthem ‘Swim’. CRRSD describe his sounds as “esoteric and cerebral”. ‘Silicon’, Daze’s 2014 release on Jimmy Edgar’s Ultramajic imprint embraces such label with delight, a track that erupts like a typhoon onto the dancefloor.
A trembling bassline that interlinks with the hissing white noise ushering the intro of track hints at an upcoming zonked experience. The shredded yet deviant rhythm it brings is optimal for a peak-hour set of a spaced-out night. Heavily-indebted to the influence of Miami Bass, the thickset sound bridges the Miami-Detroit connection. ‘My girl is made ofsilicone‘ repeats an extraterrestrial voice you’d associate with a Green Velvet release. The “droning synths“, however, are the limelight of the track. Given unrestricted freedom to roam like a Pitbull with rabies, the stentorian frequencies squawk, shriek and squeal piercingly. The reverberate was most likely created using Roland JP-8080, a piece of hardware Daze told Music Radar he uses for the “drone” sound in his production. The merit of an electronic track with a consistent 4/4 beat opens up a sphere for layering textured experimentation. Halfway through, the producer tones the lower EQs down, granting the squelches the platform they deserve. Krautrockian pads daintily float for a few bars before the hammering kick resumes the party. Matthew Dear’s Audion alias is responsible for equally vanguard production. Continue reading →
When you think of all time greatest Trap banger, Young Thug’s Check, Future’s Codeine Crazy or Migo’s Versace will all spring to mind. DHS’s ‘House of God‘ would have to be one of the most widely recognisable house & techno classics with more remixes and versions than Donald Trump’s lawsuits. ‘Watch the Sky’, a 2002 release, loses the functionality that made House of God such a functional trip, instead giving you a track so impressively imaginative. It cements a case for why many consider early 2000’s releases as groundbreaking times for experimentalism in the underground scene.
Radar pulses is the only constant in the beginning, radiating over the top of a chameleonic mix fussing indie rock drums which fade quickly in the a dubby bass, tapping triangles and drum rolls. Before your mind has the time to comprehend what is going on, a vocal sounding like Ron Burgundy tells everyone to ‘Watch The Sky’. Like a UFO popping straight out the cloud, wonky synths walk off the track like a drunken man in stumbling motion. More extraterrestrial high and low end shrills are added to this melting pot of a track truly giving the listener a palette of placed sounds crafted masterfully like a Leonardo De Vinci invention. Continue reading →