Our first introduction to Marcel Dettmann came in the form of his 2008 seminal mixtape, Berghain 02. A business card of sorts that presented a snapshot of Klubnacht, showing that whoever turns up will be left in a state of obsequiousness. Featuring an unreleased T++ cut as well as bangers like Risque Rhythm Team’s ‘The Jacking Zone‘, Shed’s ‘Warped Mind‘ and Tadeo’s ‘4‘, the mix rubber-stamped Dettmann’s fabled status in the underground scene. Not long after an album followed, released by Ogstut Ton. In conversation with The Quietus Dettmann mentions his love for EBM and all styles of electronic music, which is seeped into his debut LP. On the remix package, however, were 4 tracks, paying homage to originals that never reached the record store shelves. Two coming from his good friend Norman Nodge, two by the mysterious Wincent Kunth. With his bio on the MDR Records webpage being just a photo, you won’t find much else about him apart from learning that the producer hails Switzerland, and is a close associate of Dettmann. Being more elusive than a post-Communist era Yugoslavian leader wanted for war crimes, Kunth’s remix of ‘Vertigo’ let’s the music speak on his behalf.
Wincent so far has only released a four tracker on MDR named MDR 08. The beautiful ‘Relove (Edit)‘ one of four gems distilling a crystalline synth stab over a dubby bassline. Apart from that, Kunth’s catalogue comprises of unreleased tracks for Dettmann and Ben Klock’s Fabric mixes, as well as a collaboration with Dettmann for his DJ Kicks mix. Tense and atmospheric, they all diverge with no two tracks sounding alike. Boomkat describes Vertigo being ‘driven by lushly hypnotic bass sequences and etched with alleviated Detroit synthlines’. That word hypnotic most adequately describes all of Wincent’s cuts to date. His ‘Vertigo’ interpretation kicks off with a thudding sub bass glittered with assuage, rasping percussion over the top. Crafted with precision for for a mix in. Morbid and defiant, the rhythm of the added bassline to put simply is engrossing. It perfectly reflects the sullen glum nature of the EPs picture of the moon’s surface. Synthlines that billow like laboratory steam preluding the emergence of bio-hacked creature, limber ever so slowly. The end result is grim stuff. With the runtime being shy of 6 minutes, yes the track is a tool at best, but certainly one that’s abstruse. Continue reading →
Last year we crowned Nina Kraviz’s exhilarating Time Warp 2018 set as one of the best featured at the festival. The more recent Eiffel Tower Cercle mix swanked unapologetic raucous Techno with shades of Acid. Elephantine basslines synthesized with a touch of elegance, a sound with which the Russian DJ has been more recently associated with. Her 2017 release ‘You Are Wrong‘ radiates toxic arpeggio lines that mollify the listeners’ ears. Meanwhile ‘Hi Josh‘ rockets you to a distant Nebula with its 16 minute runtime full of Minimal bliss. And none more evident than in ‘IMPRV’, the third track found on the majestically titled Without A Moment’s Notice, An Octopus Appeared And Devoured Everyone In Sight EP. The pioneering TRP001 release of her then newly-found label трип, ‘IMPRV’ is a cannonade coming from a maverick DJ reaching the peak of their game.
During Kraviz’s formative years she released hypnotic Minimal, Tech-House and Deep House cuts. They were fitting for the peak time of a house party as much as the bowels of fabric. Her shift towards harder styles mutates perfectly on this track. Growing up in the harsh climates of Siberia must have given Nina a robust attitude that’s reflected in the track. A husky, rolling bassline that’s supported by clunky hi hats stampedes like a steam train. In the spirit of producer’s hits such as ‘I’m Going To Get You‘, ‘Pain in the Ass‘ and ‘Ghetto Kraviz‘, vocals contribute to the layering of the track. In this instance, the viscid delay repetition of inaudible chanting adds to the tenebrous melody that hovers faintly in the background. Trance-inducing soundscapes that entice you to move. Charlotte De Witte, Chris Liebing and Marcel Dettmann would proudly endorse. The latter half of the track introduces an Acid bassline you’d expect from 1990s 303 Techno cut such as DJ Misjah & DJ Tim’s ‘Purple Road‘. Nina is fond of higher tempos seizing control of her sets’ second halves. It comes as no surprise there that the track clocks in at a 129 BPM. Opening up a quantum hole in the process, this is a brooding track used to consolidate the DJs dominance over an enraptured dancefloor. Continue reading →
When we reviewed Doomsday By UK rising Techno sensation Billy Turner, we didn’t realise we’d be reviewing him again so soon. But then I saw his incredible set at London festival Eastern Electrics. When even the mrs keeps saying ‘Oooh I really like this’ you know it simply needs to be done. Distributed by Social Experiment Records, ‘Flush’ is yet another absolute weapon in his ever-expansive arsenal of hits. Released recently in August 2018, it is a hypnotic and doozy slammer. Last year, Social Experiment’s Head Honcho Johnny White aka Art Department picked him out as the one artist to look out for this year. ‘Flush’ certainly asserts this as it unfurls its hazy sound.
In his interview with London Warehouse Events, Billy describes being influenced by darker vibes. With his remixes of Anja Schneider, Dense & Pika, Arnaud Rebotini already in the bag, Flush crafted a new meaning of such concept. Taking inspiration from likes such as Markus Suckut or Planetary Assault Systems, his signature bounding bass is expansive and rumbling. Gyrating percussions start building a tension to the track. Metallic murmurations hummer in the back, similar to those seen on his belter ‘Doomsday’. Furious hats snippet in and out whilst mangled shrills pulsate. Robert Hood talks about what real trance is in his Red Bull Music lecture. ‘Flush’, is a showcase in that. Luxuriously smooth, the whooshes are like cascading flumes of smoke coming from a Icelandic Geyser. The fervid pads send the track down into a whole new realm, bringing an acquiesce for more.
You can see why it was released on the label. Listening to Art Department’s ‘Renaissance‘ or fabric mixes, you’ll appreciate he enjoys a deeper tech set. With other artists like the profound DJ Qu, as well as prodigals Moreon & Baffa being released, ‘Flush’ is a great fit. Our select track to punish the dancefloor.
Swiss producer Dachshund’s ‘Somehow’ straddles the line between Minimal and Techno in the mould of Radio Slave. Released in 2006 on Lee Van Dowski & Quenum’s label Num Records, it featured on the Floating Jesus EP. Cutting edge throughout, it’s an track that brings four seasons into one – cold, deep, warm & spritely. We first heard this track on a Ministry of Sound Australia Discotek CD, mixed by Mark Dynamix and D. Ramirez. Surrounded by other low-slung sluggers, it carried a hint of ‘dark flair’ not normally seen in Dachshund’s other tracks such as ‘Ready’, ‘Oppressors’ or ‘Give U Luv’ on Vitalik Records. The quality of the sound engineering blew our minds.
Strings reserved for a Hitchcockian thriller like the Norman Bates classic are featured from the start to give an instant sense of excitement that combines with tremor. Surrounding this is a swirl of minimal bleeps bubbling like oil in a deep fat fryer. Coming in from the distance is a cacophony rumbling like a Mac Truck engine, which then twists and flanges before detonating into life. The added weight of the sounds, ushered by the bass, give the track a real ‘Jack’. It’s a heavy affair – one for clubs filled with smoke and strobe lights filling all the spectrums of the low ends of the soundsystem. Continue reading →