Skudge’s first remix release takes their own sound into the hands of others, creating a new atmosphere fused in with their attitude and sound.
Aardvarck brings ‘Convolution’ into a swirling groove, where his Bloom-label together with his other work stamps its well-known elements onto it. Here, a more stepping and different attitude takes place, with a dread soundscape and a beat that makes you fall right down the hole.
The strength of ‘Remixes 1′ comes into its right with Jared Wilson’s take on ‘Overture’. Where his attitude towards the music keeps on being uncompromising, the remix result is very true. Maintaining the beat structure through traditional machinery, rather than going through each element of the original, he somewhat interprets the original’s sound to create this unique and haunting piece.
With this being the first remix output on Skudge Records, sounding this good, the follow ups will hopefully keep the pace.
1. 154 – Apricot 2. DVS1 – Pressure 3. Junior Boys – Work – Marcel Dettmann Remix 4. Martyn – Miniluv 5. STL – Loop 04 6. Levon Vincent – The Long Life 7. Jonas Kopp – Michigan Lake 8. ACT – RoHd 9. Mikhail Breen – Veracity 10. DVS1 – Confused 11. Rolando – De Cago 12. Kevin Gorman – 7am Stepper 13. Ben Klock – Compression Session 1 14. Roman Lindau – Keppra 15. Tyree – Nuthin Wrong 16. The Echologist – Dirt – Ben Klock Edit 17. James Ruskin – Graphic 18. Ben Klock feat. Elif Biçer – Elfin Flight 19. Rolando – Junie
If you ever had the chance to hear Ben Klock play records in a state where he seems to have just as much fun as yourself, you can be assured that the dancefloor is in good hands.
Bringing a mixed CD with this atmosphere, where years of all night sessions in his prime residency has made it tangiable, Ben Klock manages to feature a lot of aspects in his longer dj sets into a one hour mix. ‘Berghain 04′ feels very unique in the same sense as Klock’s own record taste; there is a lot of new material that manages to encapsulate his selection of old and new tracks, but also bring something new to the table.
A side effect of this is that ‘Berghain 04′ requires a certain mood to be appreciated in its fullest. Whereas a purist heart and mind would see this as a positive thing, there is something that feels a bit overlooked.
The mix feels liberating, and in the highest sense, very fresh. In these times where people have a steady idea of the “Ostgut Ton sound” and the “Berghain sound”, he draws away the attention from the dark and throbbing records to make way of a melodic and unexpected track selection that actually feels more true to the club and label than recent outputs from other directions (following the previous said comprehension). The place Klock has created with this mix has so much more to it than just simply put “dark”, “hard” and “Berlin”.
For most residents at Berghain and Panorama Bar, when hearing them play the records they want and getting the people at the floor to follow, there’s always the feeling of not knowing what to expect. This is exactly the same case with ‘Berghain 04′.
‘Berghain 04′ is out the 28th of June, with both vinyl samplers out now.
1. Alpha (The Beginning) 2. The Plague (Cleansing Maneuvers) 3. Towns That Disappeared Completely 4. Alpha 5. Think Fast 6. The Workers of Iniquity 7. Are You God? 8. The Family Watches 9. War in the Streets 10. Saved By The Fire 11. The Wheels of Escape 12. Omega (End Times)
When being able to create a conceptual album, it often feels as the old traditions in the artist’s sound disappears in benefit for just that concept.
Robert Hood re-issued his ‘Minimal Nation’ last year, where his early and classic sound was made available again. The timelessness of ‘Minimal Nation’ was still tangiable and it felt natural for it to be available again in new copies, but it was also time for a new album.
Even though there’s clear references to ‘The Omega Man’ movie, the album is not meant to run along it as a soundtrack, but rather to be considered as a techno interpretation of the film. The result is an atmospheric and very steady LP, where Hood reveals a side of his music that is less tied to the dancefloor as such, but rather focusing on this inspiration.
Even though the album feels true to his music, there’s a feeling of that something is missing out. For me, that feeling is the uncompromising core which has driven his M-Plant as well as ‘The Vision’ alias towards the timelessness of his hypnotic grooves.
When listening through the album, that missing feeling is replaced by a sense of calmness. Even in its most pounding moments, the sound remains steady as within a relaxed atmosphere. Valuable enough, that feeling alone makes up for the missing aspects, and also gives ‘Omega’ a place of being essential in a different way.
Following up on the single ‘Alpha / Omega (End Times)’, the rest of the album has a different sound going off from that single – especially in the highlight sound of ‘The Wheels of Escape’ and ‘The Family Watches’. Here, Hood is able to use sparse elements in a way that, subjectively, feels as previously untouched areas of his sound. The rhythm always feels as it’s going somewhere, reaching deep within the heart as well as keeping his original idea for ‘Omega’ intact.
‘Omega’ is appreciated, but in a different way from Hood’s previous material – being the judge of that, it’s hard being totally certain of it’s essentialities comparing to the previous material. This special piece of work is one that needs to be decided from personal factos, rather than being suited for the DJ or dancefloor.
My favorite tracks:
The Wheels of Escape
The Plauge (Cleansing Maneuvers)
The Family Watches
Going for a more concrete direction, the ’002′ from Skudge feels different from the first, creating an atmosphere that is subtle in a different way.
Kicking beats, haunting elements and a flow that is rare these days, ‘Melodrama’ keeps the pace with a lot of originality as well as the feeling from the ’001′ – a knowing in the right sense. Small variations occour throughout, but they are very subtle and yet they seem to always present themselves in the right moment, which is even more clear on ‘Ontic’ featured on the B side. It’s hard to pin down what makes this record into what it is, it has so many different sides to it as well as a unique sound. Even though the structures of the tracks might be traditional in some sense, both of them feels as if they brought in something new – which is always appreciated.
‘Ontic’ is more of a deeper ride through the tunnels, where swirling percussion and a floating atmosphere binds the rhythm together – without losing track of itself and leaving the “dj tool” stamp far away. ‘Melodrama’ swings more steady, where the uncompromising beat tangles itself onto the vocal, creating a piece that seems essential today as well as in the future.
When collecting all inspiration that certain producers have, creating a certain demonstration of strength, a timeless yet at the same time defining “piece” is created. The most interesting aspect of it though, is that the sense of being pulled in the direction of the sound that fills up the release – especially when it’s collected in an album.
Marcel Dettmann is a producer that has been pushing this sound for a long time. Through the Berghain label Ostgut Ton, his own MDR label as well as remixes on a lot of different artists – maintaining a difference in the approach, sound and style, but at the same time always remaining true to his own quality of production as well as keeping this perticular sound intact. Filling up the empty space between going through records, otherwordly sounds and pumping tracks, his own material seems so natural when combining the thought of process behind the work of his own.
The emphasis is very uncompromising. It’s hard to truly define where it is in a concrete way, as “darkness” is clearly not enough to explain this album – there is so much to it, that is very parallell to what we have been hearing as well as his most recent tracks and remixes. Sure, a lot of focus is put on a dystopian sound, but the trained ear can clearly desinguish between those who try and those who know – Dettmann being one of the latter.
Surrounding the album is a lot of talk of “the Berghain sound”, where producers pursue perhaps their own impressions of it as well as attempts to follow it. What seems to be a result of this, is releases that feels as an empty shell with a hollowed space where the energy is “supposed” to be.
The ‘Dettmann’ release is clearly a blueprint of Marcel’s own interpretation of the club, people and music, as well as his personality and style taking up most of the productions – hence creating a release that feels almost too defining for it’s own good. At least, he created something that is honest, that will probably maintain this sound in a energetic and uncompromising way.
01. People Moover 02. Nuvo Alfa 03. Flutter 04. Iland 05. Just Soul 06. The Dip 07. Round Eco 08. Dirty Trix 09. Wow Yheah 10. Indi Vibe 11. Pacific Samba 12. Conclusion F min Blue 13. Merfed
As the album title states, this latest output from A Guy Called Gerald fills up the more intellectual spectrum – a true spirit and a refreshing and original take on techno and surrounding sounds.
The most inspiring factor of this release, is that while maintaining an original sound, Gerald manages to shine through with the inspiration and energy that in common practice is more or less absent in straight up CD releases. Where a musical taste lifts every track into a new level, Gerald displays a knowledge not only sonically bound, but also knowing his way around the equipment he uses in a very solid way – the result is a combination of both perception and craftsmanship.
The mysterious and labyrinth-sense of every track makes it feel diverse and fun – rather than a straight up proper techno LP, which would seem only a bit strange if that was the case, Tronic Jazz feels strongly related to old tradition and style within the genre, rather than current explorations.
‘Tronic Jazz: The Berlin Sessions’ is due in early May.
In continuation of Shed’s remarkable dub material, Panamax stands for a freight weight of bass. With a modern feel, old tradition and a slow paced evolution within the tracks, the productions are up to his own standard (which he has defined and refined for years).
An easy going aesthetic surrounds these tracks, where the groove goes from a dub centered style into René’s own definition of music – everything is very electric, but at the same time it’s always structured enough to keep the funk. A dusty sense glues every element together in a very spiritual and mighty way on ‘Maximum Height’, where a jackin’ sense fills up between every bar. The groove is just there – a feeling that is required to make a track essential.
‘Maximum Width’ gets the same treatment as the Wax No. ’10001B Panamax Mix’ got last year; sparse, heavy but at the same time very forward. What gives the track a taste, is the excellent influence it’s based on. As well as the A side, things feels very forward pushing and timeless. Excellent production which only leaves a heavy soundsystem weakened.
The ‘Vertigo – Part 1′ feels like a record that fits excellent in the sound of today, with artists pursuing a sound that binds them together. What strikes most interesting is the fact that when first reading the remixers on the vinyl, it might first seem a little bit obvious having FSG and Milton Bradley doing remixes, but they are in fact a good choice for this track.
‘BCG’ is a track that doesn’t follow Perc’s previous work, it’s more a take on what seems to influence him (and a lot of producers lately) the most. The first listen brings “a regular dj tool” into mind, but trying it out would actually give the track a setting it was made for, making it a good choice with it’s steady rhythm and driving structure.
Forward Strategy Group’s remix is more proper, kicking and fast paced, they show a fearless take on ‘BCG’, where slight hints of the original track can be made out. Which in a sense feels as a solid ground for a good remix. FSG display that they certainly know what they are doing.
With the B2, Milton Bradley’s ‘Critical Level Remix’ follow the path that FSG also took, where a straight forward beat is in focus, and what seems to be the same project as Bradley’s own ‘Minus 126 In Berlin’ (on the first Do Not Resist The Beat!), he combines the elements from his own vaults together with Perc’s original idea, creating a stunning and effective remix.
Milton Bradley’s ‘Beyond The Silence Remix’ is the one that concludes this EP, with a sound that feels very fresh and appreciative, especially because of the fast paced nature of the previous tracks. Here, a slower pace leaves room for a more intriguing atmosphere, combining a step-influence rather than hard hitting tracks. An excellent remix that makes this EP worthwhile.
There’s this feeling that the Oni Ayhun label is sensible and fun – a combination that the person behind Oni Ayhun previous work was based on, but somehow became so much clearer with the four releases on OAR.
The combination of the indulging rhythm patterns and the Sähkö-alike reduced aesthetic and sound, combined with the sonic advancements from the ’001′ to this forth moment; Oni Ayhun creates a record that is truly unique.
What’s most interesting about this release, is the fact that there’s so much thought behind it. Neglecting all forms of feedback and keeping things very personal is maybe required for an artist pushing this sound – what does strike as most promising is the wide artistic spectrum this release has marked, in regards to the three previous releases. Keeping things to a bare minimal level, as well as uncompromising progression within all elements, Oni shifts through the atmosphere in light speed – wondering what the hell is going on.
There isn’t so much to tell about this release, other that it is very appreciated, as well as highly recommended.
01. Descent 02. Latch 03. Three Sided Shape 04. Minerals 05. On Deck 06. Before 07. Tracers 08. You Got Me 09. So You Think You´re Special 10. Heavy Machinery 11. Glance 12. Lights Out
Stronger than ever, Paul Rose (Scuba, SCB) releases his third album under the Scuba name. It’s not just an output that feels fresh and encapsulating, but at the same time it displays a state of electronic music that hasn’t been depicted in this way before.
It would be unfair to say that every album fails to do so, but it’s hard finding another album release that delivers such a clear picture in what direction the artist is heading. What seems to be a common ground for the tracks on ‘Triangulation’ though, is that the music continues within the same atmosphere, but in a way that isn’t so distinct that it gets futile. The sense of Scuba writing down his own special sound for the future is weighing heavy over this said atmosphere, as well as the absence of references for his sound, the timelessness is inspirational.
With variations over the course of the album, this sound comes to its strongest side with the tracks ‘On Deck’ and ‘Tracers’ – the reminisces of a Playstation dominant past gets blurred with a strict vision on where Scuba’s music is going – with these tracks, this album lifts itself into a new and unexpected sense that is very welcomed.
