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 →
Released on Damon Albarn’s Honest Jon’s Records, this Moritz Von Oswald remix is proof that the Gorillaz frontman has a delicate taste in electronic music. With the original version coming from an album titled ‘Lagos Shake’, the Nigerian influence is strong with this one. Oswald is a German multi-instrumentalist whose extensive releases like ‘Watamu Beach Rework‘ demonstrate production influenced by 1970sbands responsible for the Kosmische movement like Tangerine Dream and Can. His collaboration with Mark Ernestus as Basic Channel introduced the world to some of the most pioneering minimal and dub tech releases. Their subsequent label Rhythm & Sound output drew influence from the dub reggae scene. Here Oswald takes his production mastery to transform Tony Allen’s original into a dub techno ambrosia.
The track begins with a set of djembe drums played with great adroitest of Yinka Ogunye. A lingering analogue synth reminiscent of a Ibiza Chillout compilation simmers with intent to collaborate. The symbiotic relationship between natural and technological instrumentation is captivating. Rather than contrasting, they manoeuvre in communion that is refreshing. Then, ninety seconds in, the the prime mover of the track announces its entrance with the charisma of Alexander the Great. A husky kick supplements a sangfroid bassline that is cadenced yet serene. An African vocalist chants ecclesiastic chants with sombre conviction. Though the words may sound alien, the spirit with which they are sung is universal. 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 →
Basic Channel deliver what must be one of the most compelling pieces of music in the history of Deep House, Round Two – New Day (feat. Andy Caine).Basic Channel deliver what must be one of the most compelling pieces of music in the history of Deep House, Round Two – New Day (feat. Andy Caine).Round Two – New Day (feat. Andy Caine)
The Godfathers of Dub Techno, Basic Channel aka Mortitz Von Oswald & Mark Ernestus all hail from Berlin. Here they deliver what must be one of the most compelling pieces of music in the history of Deep House. Off the back of a string of memorable releases made in under their Basic Channel, Maurizio and Rhythm & Sound guises, the vision and execution to compose such a variant release under the Round 2 guise confirmed that these producers were as legit musicians as they come.
Made in 1994, the track tells a story about an on and off relationship. Starting with a dubby sub bass, and a bassy melodic pad similar to that of a Chaz Damier or Ron Trent cut. Once the warm, drawn out pads come in, you can sense something special is about to take place. As though sunrise is about to hit the beach. The vocal that then proceeds to just calmly stroll into party surely must be the best Deep House vocals in existence. Three, some times four piece harmonies, rich in tone and vibrance lift the track giving the listener some serious ear candy. The ‘oo’s are evenly sung along to the pads, giving the track an extra dimension. Cranking up the feel-goodery oozing from the track.