Tag Archive: Moritz von Oswald Trio

Liars – “WIXIW” 4th June (Mute Records)

After leaking mysterious audio and video clips on their website and have hinted one of their idols is producing the album Liars are finally talking about their new album. Singer Angus Andrew explains the title (pronounced “wish you”) as follows “It’s a palindrome, and that interested us as far as the idea of starting somewhere, going through a lot of work, and ending up in the same place you started”. Andrew also talked about the album being more electronic and sampled based than recent Liars albums. Read the interview here and stream pre release track ‘No.1 Against The Rush’ here.

Florian Meindl – “WAVES” 4th June (Flash Recordings)

“WAVES” is the debut album for the Berlin-based Austrian producer, DJ and sound designer. The lead single ‘What Is Techno’ is a booming, dirty techno track with an irresistible bass drum, clap and hi-hat groove. A low male voice asks “What is techno? What is house?” as a percussive melody drives the listener to the dancefloor. There isn’t yet a great deal of information on the album but Meindl says it will have a stronger techno touch than his previous EPs.

Oh No – “OhNoMite” 4th June (Traffic Records)

The brother of underground hip-hop’s finest producer Madlib unleashes his last conceptual release based entirely on samples from the blaxploitation film “Dolemite”. The album features guest MCs including DOOM, Alchemist, Guilty Simpson and Erick Sermon.

Beak> – “>>” 11th June (Invada Records)

Two years in the making Geoff Barrow’s krautrock side project return with the promise of a more “progressive” record. The band stuck to the recording their jams in a room of their self titled debut album and only features two overdubs. Early reviews and pre release track ‘Yatton’ seem to confirm this promise, we will have to wait and see.

Doseone – “G Is For Deep” 11th June (Anticon)

His first solo album since 2007 promises to be a welcome return for the ex-cLOUDDEAD founder. Pre release track ‘Last Life’ combines Doseone’s idiosyncratic vocal/rap stylings with his most pop oriented melody to date. It’s the sort of track that puts a smile on your face and it’s got me (Liam, Sonic Fiction Editor) very excited about “G Is For Deep”.

Bobby Womack – “The Bravest Man in the Universe” 11th June (XL)

After his triumphant return on Gorillaz “Plastic Beach” album, Womack returns with a new solo album produced by Damon Albarn and XL Records owner Richard Russell and featuring guest vocals from Lana Del Ray.

Neneh Cherry and The Thing – “The Cherry Thing” 18th June 2012

A covers album created by Neneh Cherry of ‘Buffalo Stance’ fame and Norwegian noise-jazz trio The Thing seems unlike but here it is featuring covers of Suicide, The Stooges, Don Cherry (Neneh’s Dad) and Ornette Coleman among others.

Delta Funktionen – “Traces” 18th June (Delsin) 

Delta Funktionen says his début album on the faultless Delsin label will pair “a raw, machine made aesthetic with plenty of real human soul and palpable earthly emotion.” The Dutch producer also states, “Traces…covers … my favourite subgenres within electronic music: techno, house, electro and (Italo)-disco.” “The album will cover lots of ground, with not all of it completely focused on the dancefloor.” With tracks like the atmospheric, blissful electro cut ‘Frozen Land’ and the sticky acid of ‘Enter’, “Traces” looks to be an album for listening to as much as it is for dancing.

Christian Löffler – “A Forest” 18th June (Ki)

Another third début album for June is “A Forest” from Christian Löffler. The German artist founded Ki three years ago as an outlet for his deep techno productions after releasing minimal techno/tech-house tracks on Orphanear, a label started by Pawel, an artist on Dial. As well as dance-based tracks, “A Forest” will feature ambient passages. ‘Feelharmonia’, featuring mournful vocals from Gry, is a relaxed techno cut made up of shuffling percussion and a bouncing synth pattern.

Peaking Lights – “Lucifer” (18th June 2012)

Peaking Lights say that those that have heard their new album “conjure a night time version of previous works, music to soundtrack the moonrise to the sunrise” and “there was a new approach to recording our rhythms and we were able to see through many more influences”. Check out the “Lucifer Mix Tape” featuring snippets of tracks from the album here.

Moritz Von Oswald Trio – “Fetch” 18th June (Honest Jon’s)

“Fetch” is third studio album by Moritz Von Oswald, Sasu Ripatti (Vladislav Delay) and Max Loderbauer. It is described as showcasing a “darker and more driving mood” than previous works. The album was recorded in the late summer of last year and includes contributions from Marc Muellbauer (bass), Tobias Freund (effects), Jonas Schoen (flute, bass clarinet, saxophone) and trumpeter Sebastian Studnitzky. “Fetch” will contain a fluid set of tracks that are recordings of live improvised sessions, the running theme with releases by the trio.

“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.”


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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