The Futurist has moved in light speed since the last review, where a lot of things have happened at the same time.
Having tracking a lot of records throughout the months of November until now and further on, planned reviews have been postponed because of more regular dj nights as well as obtaining a studio.
Getting into production has always been a goal and a motivation for me. Being able to review records that are essential and interesting has always been a way to express myself, as the next step is to create my own music and letting you who read The Futurist obtain it first.
There was never a big plan—I will continue to review records and write about other things as well, please enjoy the spring and new reviews will be posted.
When a shortage of inspiration comes by, it’s always easier to talk about that rather than actually getting the job done.
The reviews have been suffering because I’ve mainly been purchasing older records since my last post, as well as standing and sitting behind the turntables rather than looking into the new stuff coming up. I do still feel it’s necessary to point out the records that actually stand out and delivers the known feelings as well inspiring to the unknown ones.
To sum things up, I’m very sorry for this hold up and letting The Futurist die a little bit, but I’ll try my best to get going again.
When it comes to full range, dynamic and prosperous atmospheres, René Pawlowitz seems to create his magnum opus with every new release; with an important note, that his use of different aliases for all of his styles have an equally big impact on the scenes they turn to.
In 2008, the ‘Shedding The Past’ album was released on Ostgut Ton as the first album from René, put under the Shed name that derives from the album title. Although the album itself had a huge impact due to it’s many rooted tracks and moods, there was also the sense of an album not following any concept.
“STP was kind of a compilation, that is true. All these tracks were made in 3 years around 2006-08.”
With ‘Shedding The Past’, the different tracks and moods created a very unique sound, not really following any traditional structures usually found within his closer producer friends. Drawing inspiration from a lot of different styles, René seems to be able to combine these into his own sound – which is highly regarded as one of a kind.
“It’s coming from the days where UK-Hardcore was growing up. When Carl Craig as BFC or Piece and Kevin Saunderson as Tronik House still made good tracks… long time ago……”
“For “The Traveller” it was more a creating of a long player. All the tracks are only made for this album. The album grew from track to track. This album is very contiguous. It’s maybe more made for listening it at home.”
As with most of Shed’s productions, all of the tracks on ‘The Traveller’ share a constant continuation of pure energy, that seems to bind together not only the rhythm and structure, but also the soul and honesty. There is a huge emotive impact that can’t be denied in the productions, especially when they are played in the right environment.
“The melody. The simple melody… constant repeating. Easy construction. No arty-farty or constructed breaks.”
Do you think it’s possible to combine the attitude and sounds from Equalized, Wax, Shed and The Panamax Project into an album?
“Yes, definitely. As you can hear. Hopefully….. Hahaha! No, actually not. Because EQD or Wax – tracks are made for the floor, for dj’s. This album is not made for dj’s. All the tracks are very short and not formulated. 2 things why the dj’s of today will/can’t play it.”
The third session of Henrik‘s unmistakable mix series, recorded a few hundred meters away from ‘The Office’ venue. This time, less subtle and more kicking, with short ran vinyl releases, white labels and unknown’s, combined through the rotary mixer.