Tag Archive: dub-techno


Vier’s Recommendations

Silent Harbour – “Silent Harbour” 6th August (Echochord)

Dutch producer Conforce debuts a new alias by the name of Silent Harbour with an accompanying eponymous album on 6th August. Best known for dreamy, warm techno, Conforce’s decision to work under an alias is explained by a desire for him to “explore more cerebral and conceptual sounds” with a theoretical focus on “isolation, deep-sea submersion, [and] aquatic environments.” It will be released on the Danish label Echocord. Conforce’s Delsin-released album “Escapism” from November 2011 is highly recommended for fans of techno’s lower BPM side.

DeepChord – “Sommer” 27th August (Soma)

Heir to Berlin’s Rhythm & Sound is the Detroit-based Deepchord. Active since the late ‘90s Deepchord (Rod Modell) has been tweaking the dub-techno formula for years, trying out various balances of muffled beats, hazy ambiance and field recordings. This is precisely what the press release says you can expect from “Sommer” (German for summer): meditative electronic compositions enriched with organic sounds, many of which Modell collected at the beach near his home. “Sommer” comes barely a year after “Hash-Bar Loops” and like that album it will be released on Glasgow institution Soma Records.

Liam’s Recommendations

JJ Doom – “Key to the Kuffs” 20th August (Lex)

JJ Doom is the latest collaborative project to be announced/rumoured for release in 2012 by underground hip-hop legend MF Doom (in addition to Madvillian, Doomstarks and his collaborations with Johnny Greenwood and Thom Yorke from Radiohead) and features producer/rapper Jneiro Jarel. Guests on the album are Beth Gibbons (Portishead), Damon Albarn and Khujo Goodie (Goodie Mob). Check out ‘Guv’nor’ below plus ‘Banished’ from the album here and Dave Sitek’s remix of ‘Rhymin’ Slang’ here.

Teengirl Fantasy – “Tracer” 20th August (R&S)

For their second album “Tracer” Teengirl Fantasy have abandoned their sample based approach and bought in a number high profile guest vocalists Laurel Halo, Panda Bear and Romanthony (most famous for his guest slots with Daft Punk). Moving to Belgian dance label R&S suggests that 4/4 dance beats may more to the fore and so far the three pre-release tracks have demonstrated a good understanding of modern house and Hyperdub dubstep influenced sounds, this could rival Blondes self titled debut album for leftfield dance album of the year!

27th August

Dan Deacon – “America” 27th August (Domino)

The long awaited follow-up to “Bromst” (2009) is Deacon’s first release to use primarily acoustic instruments after many years of creating electronic 8-bit synth music that sounded like a delightfully deranged Atari game soundtrack. This change in direction was prompted after touring “Bromst” with a 13 piece acoustic ensemble. Deacon changed focus on this record making the lyrics and their more positive but still political content front and centre. The album is split into two sides, Side A is full of straight forward pop songs, while Side B is a 21 minute cinematic suite in four parts. The early signs are good with pre-release tracks “Lots” and “True Trush” sounding like wonky pop summer anthems. Whatever the rest of “America” sounds like you can’t doubt Deacon’s ambition.

Matthew Dear – “Beams” August 27th (Ghostly International)

Now a firm fixture on the dance music scene Dear returns with his fourth solo album, the follow up to “Black City” (2010) which featured in Sonic Fiction’s Albums of the Year 2010. The pre-release tracks that have emerged suggest that as with the transition between between “Asa Breed” (2007) and “Black City” Dear continues to subtle evolve his sound rather than completing a revolutary turn around on each new album. This is no bad thing and as he’s always proven in the past, Dear is very much the master of his unique sound.

“I don’t like things that are too obvious…If you, as a listener, are always putting something in a certain cupboard, I’ve never liked that. If you say, this is jazz, this is pop, this is…experimental techno and all these kinds of things, I don’t like that. I want to make it that somebody can create his own language… That’s what I tried to do. I’ve always tried to do new tracks, sounds that you don’t know, that you can’t define.” Moritz von Oswald, The Wire, July 2009.

Berlin-based producers Mark Ernestus and Moritz von Oswald established Basic Channel in 1993. Building on the techno dialogue between Detroit and Berlin in the early nineties and the duo developed a slender but adored catalogue of stripped, ultra-minimal releases that compacted together techno, dub and ambient. Besides Basic Channel, the pair also operated under the ambient-leaning label Chain Reaction and other numerous projects: Cyrus, Phylyps, Quadrant, Maurizio and Rhythm And Sound.

This month’s Classics Critiqued covers “BCD”, a collection of their seminal 12” vinyl records. I have picked “BCD” because, as well as been a personal favourite, its tracks have been incredibly influential on this current generation of techno DJs and producers and without Basic Channel’s existence the genre’s landscape would be very different yet they and their releases are seldom covered in mainstream music press.

Germany’s techno scene was conceived while the country began to redefine itself in 1990.  With Detroit techno serving as their main influence and Berlin as the natural capital, Germany’s youth built their first dance music scene. The no-man’s land that sandwiched the Wall still remained after its collapse, leaving many buildings uninhabited during the year-long reunification process; as such the unclaimed and derelict spaces served many with the opportunity for club locations. Dimitri Hegemann and his Interfisch label peers found a series of underground rooms in the redundant Wertheim Kaufhaus (once Europe’s largest department store), on the Potsdamer Platz artery. The group took on their newly discovered space and named it Tresor (vault or safe in German). Hegemann recalls in Dan Sicko’s expert book ‘Techno Rebels’: “We were the place where East and West kids came together, musically…” Tresor was vastly important in bringing together the once divided generation and became one of a number of clubs in Berlin that introduced thousands to techno and united people through it. Also at the heart of the capital’s techno scene is the Basic Channel-linked record shop and distributor Hard Wax. Co-owned by Ernestus, Hard Wax had and still retains a high regard for Detroit techno and its principles and was central to the explosion of the genre in Berlin.

Rather than being culturally significant in the way that Tresor was, for example, Basic Channel’s value is in their influence on techno’s sound, aesthetics and preference for anonymity; that “let the music do the talking” mantra. As with Drexciya and Detroit’s Underground Resistance, Basic Channel infused techno with the mythology that would become as fundamental to the genre as its steady bass drum. Rarely permitting press coverage and by choosing a purely functional and unyielding name, Moritz von Oswald and Mark Ernestus divorced themselves from the outside world with a self-contained production and distribution house that included their studio, label, Dubplates & Mastering facility and Ernestus’ Hard Wax. As with some techno artists, Basic Channel can be an alienating experience for those uninitiated in the genre and near impossible for a casual listener to penetrate; record sleeves contained little information but for a Berlin fax number and a sticker instructing “buy vinyl”. The cryptically named tracks, murky and populated by machines churning and throbbing, have little humanness or apparent emotional content.

Throughout the first half of the nineties, Basic Channel were one of Europe’s first techno innovators. Ernestus and von Oswald defined dance minimalism early on, both through a love of repetition as a form of change and a desire to let the music speak for itself. The tracks, released on their eponymous label, were termed ‘dub-techno’, owing to the subtraction of all but the genre’s most essential ingredients, which were then reconstructed to merge Jamaican dub, 4/4 bass drum pulses and dissonant synthesisers swallowed by rippling delays and reverb. They restrained techno’s energy to untethered pulses and glancing synths that churn and wash below a surface of fog and crackle; ‘murky’ is a signature adjective. As respected electronic music journalist Philip Sherburne wrote, the pair were making “music of horizontal energies, sinking in and spreading out.”

Their pioneering catalogue has informed the work of Monolake (Robert Henke is an alumnus of Dubplates & Mastering), Drexciya, (another duo who until recently have been unfairly ignored by music press) Hard Wax and D&M associate Pole and Plastikman, who, alongside Basic Channel, form an important family from which minimal techno was born. Later Vladislav Delay, Thomas Brinkmann, Beat Pharmacy, Echospace and DeepChord incorporated the moist grooves of their music into different templates. Their aesthetics can be traced in labels such as Ostgut, Delsin, Stroboscopic Artefacts, CRS Recordings and Perc Trax, while contemporary DJs and producers Marcel Dettmann, Ben Klock, Voices From The Lake, Skudge, Morphosis, and the mammoth Berlin techno club Berghain are closely related to this renaissance in the duo’s catalogue.

Basic Channel have become a synonym for vaporous dub-techno and their legacy is such that they are consistently referenced in press releases and artist descriptions within electronic music magazines yet journalists rarely explore their career or catalogue. A search through the archives of FACT, xlr8r, Resident Advisor, Pitchfork and The Wire will reveal hundreds of references to Basic Channel though disappointingly only a couple of articles written about them. Ernestus and von Oswald built a body of work that needs to be investigated. They were instrumental in the creation of a new culture in techno and theirs is a 20 year heritage whose influence can be heard in hundreds of artists. They are widely acknowledged to have perfected the dub-techno sound and without them techno would be a markedly different genre.

Mark Ernestus and Moritz von Oswald have grown into the genre’s figureheads and “BCD” is an essential synopsis of one of the most important names in all of techno. As von Oswald stated in his interview for The Wire, “It’s not about status, It’s not about legacy; it’s about listening.”

Vier

Spotify playlist:

Various Artists – BCD

or if you don’t have Spotify listen to three minute previews at Hard Wax’s website.

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