Fuse London’s notoriety is the result of not only its parties, but also a defined brand of Minimal and Deep House that will certainly be a catalyst for those who wanting harder but just as dubby. Though Dub Techno seems to have hit the same cannibalisation peak that Tech House had allegedly experienced in the late 1990’s (with many releases copying the Basic Channel formula), two producers still fly the flag with dazzling dexterity. Deepchord, and South African producer Brendon Moeller, also known by his Beat Pharmacy or Echologist aliases. Moeller first released under these monikers due to Francois K’s Deep Space Media and Third Ear Recordings paying good money in exchange of exclusively releasing for them. Though steering away from past associations in his latest LP ‘Storming Heaven‘, Echologist prior releases were Big Room Techno cuts distributed on Mord and Electric Deluxe. His collaboration LP with Matrixxman, ‘The Black & White‘ LP has been a go to for functional Techno for us. ‘Just A Ride’ however is a Dub Techno track made for the main stage. Dropping in 2010 on his own Steadfast label, it is as atmospheric as a track can come.
If you’ve ever come across his Beat Pharmacy cuts you’ll know Brendon loves to add more reverb than Sven Marquardt likes rejecting people at Berghain. On his impalpable remix of Appleblim & Peverlist’s ‘Over Here’, Clone notes that Moeller ‘submerges the original elements under layers of delay and echo’. We’d say that’s a mammoth understatement. From the off, flumes of compressed white noise spurt in all directions. This is a reflection of the EP cover that features a cyclone in the ocean. Horns played in a manner that elicit a manner of reflection cavort. Chugging and groovy the bassline is mixed to provide the synth with symphony. An monumental breakdown takes place mid track, preserving only the horns on display. The track than lifts off with extra warped layers of chords moving up and down their variant octaves. If you could describe a track as a sonic representation of an F1 jet flying through a distant nebular, then this would be your pick. No wonder why the trancey Techno producer Petar Dundov included it in his Resident Advisor podcast. Continue reading →
The artwork for the End Of Perception – ЛаBа EP features lava spill effluxing over frayed rocks. It takes crystals, volcanic glass & gases to form such molten rock. In similar vein, Raffaele Mezzanotte, known as Münch, amalgamates noise, atmospheric and ambient sounds to fossilise his creation. His contribution to the second compilation of the newly-formed Berlin label demonstrates the collectives potential to appeal to Giegling followers. Placed in-between Primal Code’s traumprianzian ‘Alhambra’ & Deepbass’ mesmeric ‘Separation Of The Present Moment’, ‘Note’ is a window to an alternative dimension of self-reflection.
The ambient pads used are reminiscent of Prince of Denmark’s ‘Darkspirit Cut‘, with its nihilistic acquiesce evoking somberness. Though it must be said that the Münch track carries a little more avidity. In the lineage of iconic atmospheric dub techno tracks, the runtime for ‘Note’ is extensive. This allows time for introversion that can provide therapy. Naturally for the subgenre, numb kicks amble along with humble conviction. Craven hi-hats hop on the this train of thought like a freighthopping rider wishing to go unnoticed. The midsection of the track introduces white noise that reminds one of a seashell resonance. This concept of the ocean colliding with magma can be taken to be a metaphor of the listeners worries soothed by the soundscapes of the track. Continue reading →
It’s 2009, and Electro House is at it’s peak in Australia. Unless it’s a Vandalism or TV Rock track, most people don’t want to know. I’m at my Central Brisbane Apartment with a few of my best mates Marcus, Hughy, Blakey, Dosa and Jojo having an afterparty, Sven Vath’s Sound of The Ninth Season is playing in the background. Few tracks in one of my best mates Marcus turns to me and goes ‘What the hell is this music? How could you listen to it?’ … a few tracks later ‘Promises’ hits and he then comments ‘Oh..that’s why’.
Promises is the perfect late night track. This Deep Tech banger produced by the formidable Dial Records mainstay Efdemin and Rndm evokes feelings hidden deep inside of the soul, explicitly connecting your thoughts and emotions. Continue reading →
If you love Dub Techno, you love DeepChord. 2017 saw Deepchord release 2 Solo EPs, an LP and other various collaboration projects of such high quality. It makes you think ‘Can this guy actually slow down?’ here on ‘Devil Ray’, from his Auratones LP you get to feel the full force of Deepchords alchemical touch. Combining his usual Dub Techno, Deep House and Ambient soundscapes. As described by XLR8R in their review of the album,’ Modell’s (Deepchord) great ability is crafting virtual spaces. Auratones floods the listener with blissful electronic oceans of sound, stimulating the imagination.’ The track certainly embodies that statement.
DeepChord once stated ‘I think with my releases there must be some sort visual element expressed within the sound.’ Looking out towards a brooding Canary Wharf on the train heading to work on a wet London morning, with its striking architecture screaming out in the midst whilst listening to Devil Ray, my mind cannot help but agree with this. Your context might be different, but the influence of Astral Industries DJ associate is the same. Continue reading →
After last year’s banger Out of Time was released on Kompakt, it was only a matter of time before another team up happened. This time the prog don track Sasha – True is remixed by the mighty Michael Mayer. What we get from this remix is a truly compelling deep tech experience. Last Night On Earth label boss has always been know for his aesthetic. An immersive underground sound that aims to foster an experience. The context of the club is seen as a place of eureka for the Welsh DJ titan.
Here Mayer expands upon the chorus of the original. Adding a sub bass, a few lashings of extra synth to the fore as well as chopping up the gorgeous vocal from the original. The spirit of the original A track that can be used at a low or high bpm, for many a dance floor moods. Retaining the emotion of the original, but expanding on the dance floor scalability, Mayer’s remix makes an ultimate dance floor weapon. Sure to be in the pockets of Afterlife DJs and the like all this summer long.