Tag Archive: The Sight Below


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1. Voices From The Lake – Voices From The Lake (Prologue)

This is an album that has stayed with me since I first listened to it in the freezing early months of 2012. As the year has once again reached the months of dark skies and chilling air, “Voices From The Lake” remains a favourite and a release whose place in pole position for album of the year was never in doubt. The work of Donato Dozzy and Neel is both beautiful and lucid with deep ambient atmospherics and an exceptionally crafted piece of sound design. Listening to “Voices From The Lake” is an immersive experience as the deep wells of ambient sounds develop and unfold at their own pace. Textured beats and unhurried rhythms pour forth with a hypnotic flow, creating an intoxicating sense of tranquillity. Drones and gently pulsing bass drums lead us into soothing pillows of thick ambience against a humid backdrop. The pair’s reworking of the previously released ‘S.T.’ is a revelation. After 30 minutes of bubbling and pulsation, the album’s first proper bass line emerges underneath a gently ascending and descending chord progression, creating the album’s biggest moment of impact while remaining airy and translucent. Rhythm, texture and atmosphere are the key components of “Voices From The Lake”, creating an enveloping physical presence that asks contemplative concentration; a meditative state of listening. Its patterns shift and morph in minute detail, so subtly and patiently that it gives the album an unusual feeling like it is floating while simultaneously surging from the depths of a dense forest. The construction is painstaking, so much so you can’t tell where one track begins and another ends yet, surprisingly for something that has been put together so intricately, it contains warmth that feels inviting and effortless. “Voices From The Lake” is a unique, entrancing release that supplies the closest aural equivalent to waldeinsamkeit since Pantha Du Prince’s “Black Noise”, my top-ranking album of 2010.

2. Shed – The Killer (50 WEAPONS)

“I hate guitar music…because guitars have been out there for hundreds of years now, and I think it’s enough.” Shed (Rene Pawlowitz) the stern-faced German doesn’t care for much, at least that is what his interviews in English depict and with “The Killer”, the producer delivers the tracks on his third album in true German attitude: to the point, straightforward and no bullshit. “The Killer” doesn’t introduce listeners to anything new but by his own admission he doesn’t aim to. For him the best techno was released in the ‘90s and he finds the genre as it is currently, boring. Pawlowitz testifies, “I guess by about 1995 techno stopped being new or innovative and since then it has stayed the same. That’s why I like the past so much, nowadays there is no big change in techno.” What “The Killer” does do is stand as the most visceral and powerful techno album of 2012. Pawlowitz brilliantly drags tracks away from being simple genre exercises by burying nuances and his enigmatic personality among the flashes of brutal intensity. The insistent breakbeats and searing, sinister synths that make up the sadistic throbbing of ‘I Come By Night’ would become tiresome in another producer’s hands but Shed’s nuances are there in the background with the addition of delicately fluttering synths that weave through the track. Making “The Killer” all the more interesting are the feverishly repetitious melodies that flourish underneath the deep, pounding drums, crackles and ambient noise. They are omnipresent yet only really reveal themselves after several listens. Again Shed has pulled the magician’s trick of hiding them in plain sight. Dreamy melodies float through ‘Silent Witness’, Pawlowitz upturns typical techno arrangement by forcing the drums to follow the lead of the billowing melodies on ‘You Got The Look’ and rapturous techno beats are suspended by melodious atmospheric synths on the floating ‘Phototype’. “The Killer” and its producer are refreshing in their directness and techno purity and it is Shed’s individual blend of brutality and subtlety that makes “The Killer” one of the best albums of 2012.

3. John Tejada – The Predicting Machine (Kompakt)

The Austria born, L.A. based producer runs wild, excitedly and purposefully pulling sounds from an assorted catalogue of eras and styles for ‘The Predicting Machine” as it cycles through ten tracks that fluently weave lean electronics and pounding, yet sparse, beats with Tejada’s famously emotionally resonant melodies. It covers a lot of ground yet perfectly summarises his deeply focused approach to production and when it comes to effortlessly and beautifully conveying emotion in music no one gets close to John Tejada’s finely tuned melodies or his instinctive musicality. “The Predicting Machine” moves with pace through sculpted bleeping hooks and thick ambient fogs that rise from aquatic grooves, a Kompakt schaffel-inspired rhythm makes several appearances and the percolating tech house that made Tejada’s name features on the knowingly titled ‘A Familiar Mood’. A moment of magic occurs when the opening bars of the anthemic ‘The Function And The Form’ begin. Its fizzing melody and growling bassline lifts “The Predicting Machine” up a level and the incredibly rich modular synth textures and sparkling arpeggios surrounding it play out joyously. Throughout “The Predicting Machine” long gleaming melodies and spiralling arpeggios mingle with wet, elastic rhythms and effervescent clouds of synths. Every one of his tracks is an inviting and wondrous soundscape filled with luxurious and elegant detail; pure Tejada.

4. Sigha – Living With Ghosts (Hotflush)

After a bundle of 12”s for Scuba’s Hotflush label Berlin-based, UK-born DJ and producer Sigha (James Shaw) delivers his debut album “Living With Ghosts”. The album’s twelve perfectly balanced techno and ambient productions fuse his love of classic techno with the genre’s contemporary sound that is owned by Germany’s capital and over the course of “Living With Ghosts” Sigha shifts between brooding subterranean techno soundscapes and fluid emotive strokes. Album opener ‘Mirror’ slowly introduces the listener to the show with an unhurried sketch of quietly grinding austere noise until the second track ‘Ascension’ kicks in with a throbbing techno beat that almost suffocates its undulating synth. The addition of subtle changes to the rhythm and percussion in the final third takes the track close to breakbeat territory. For the last 30 seconds the drums suddenly drop out to a soft drone that acts as a palette cleanser; refreshing the listener for ‘Puritan’’s 6:40 minutes of a wonderfully unrelenting, thudding 4/4 groove and gossamer synths. A highlight is ‘Scene Couple’, its wet licks of acid rise and swells with force yet feel restrained and intricately textured; a track that will be killer on dancefloors for months to come. Sigha cleverly uses two tracks, ‘Suspension’ and ‘Delicate’, to allow the listener to come up for air, making it even more potent when they are thrown into the techno waves again. Their carefully weaved layers envelop in silky ambience; adding an extra stunning dimension to the release. Hypnotic beats punctuate an enthralling windswept soundscape in the nine minute ʻTranslateʼ. The elegant ‘Aokigahara’ rounds off the album in a ten minute beatless wall of foggy ambience that swathes and soothes the listener. Like “The Killer” by Shed, “Living With Ghosts” is a techno record that contains countless moments of experimentation, depth, subtlety and exhilaration across a format that can be the downfall for many producers who are used to delivering 12”s.“Living With Ghosts”, with its commitment to the motifs of UK and Berlin techno, is a skilfully paced, cohesive, complex and compelling album.

5. Marcel Dettmann – Range EP (Ostgut Ton)

As with last year’s “Translation” and the recent “Landscape” EPs Dettmann’s “Range” shows that though the scale of his material is narrow his resolute, glorious techno still contains many shades within their concrete canvas; 50 shades of grey so to speak. Swirling atmospherics introduce the EP’s title track as an unsettling drum pattern ploughs through sullen, foreboding terrain. The pulsing bass drum on ‘Iso’ only just holds the track together as a dense assortment of spiky and hissing sounds ring out and dissipate above cavernous and unsettling held chords. It feels like it’s on the brink of collapse and reaching out from the depths of this instability comes ‘Push’’s barely discernible pitched down voice intoning variations on the track’s title above a rhythmic dry-hump made up of deep bass thuds, whooshing hats and skittering percussion; a standout. Final track ‘Allies’, which was an important inclusion in Ben Klock’s recent, wonderful “Fabric 66”, is an excellent example of Dettmann’s skill. Essentially a single harmonically-rich chord repeats infinitely while razorblade hi-hats and jacking snares alter every single bar. As with most of his unforgiving slabs of techno, he builds and builds the pressure to almost uncomfortable levels without gifting the listener with any real sense of climax or release. “Range” will still be a favourite on dancefloors twelve months from now.

6. Orcas – Orcas (Morr Music)

Named after the mammal native to the Pacific Northwest where Rafael Anton Irisarri (The Sight Below) and Benoit Pioulard hail from, their collaboration as Orcas blends poignant, twinkling pop songs with shuddering masses of electronic sounds; a fusion of song-writing with ambient minimalism that stands somewhere between the piano-based modern compositions of Peter Broderick, the Field’s highly emotive techno and GAS’ subdued beats and stately atmospheres. ‘Pallor Cedes’ sets the tone of the self-titled album with rising and falling drones and a clipped guitar rhythm sitting under softly picked acoustic guitar and Pioulard’s aching repetition of the phrase “like coming up for air”. “Arrow Drawn”’s clever use of vocal double tracking and harmonies slowly seep into the listener’s ears as quiet acoustic guitar and piano merge into ‘Standard Error”s floating loop of sighs. Calling to mind GAS and Irisarri’s work as The Sight Below is “Carrion”, an unhurriedly evolving hymn that encompasses a distant beat, echoed piano parts, an irregular guitar chord and Pioulard’s gauze-covered sad-eyed voice. A standout is their sublime cover of Broadcast’s ‘Until Then’, a poignant tribute to the untimely passing of singer Trish Keenan. Continuing the album’s use of piano, the track is built on a close-mic’d delicately played piano which frames Pioulard’s reflective vocals. Across the album Benoit Pioulard’s vocals glide along amid quiet piano and guitar notes and backing textures that rise and fall in gentle interplay, vinyl crackle and natural reverb adding an important touch of atmosphere. “Orcas” is a beautifully dignified album that summons a sense of space, understated progression and emotional depth.

7. Deepchord – Sommer (Soma)

Deepchord (Rod Modell) is an artist that continues to reinvent and diversify within the dub techno/ ambient techno genres. “Sommer” (summer in German) has lighter, more ethereal feel than Modell’s previous output but his characteristic manipulation of space and time remains. Effect-heavy textures, sliding and shifting rhythmic elements and intricate production details create a constantly evolving almost vaporous tapestry. Field recordings made on a beach close to Modell’s home generate a balmy atmosphere that breathes underneath the light-footed percussion and bass pulsing from the speakers. Like “Silent Harbour”, “Sommer” creates evocative sound passages. Beautiful, humid atmospheres are drawn in ‘Glow’, ‘Wind Farm’ and ‘Cruising Towards Dawn’, dark fluid journeys are traced with ‘Flow Induced Vibrations’ and ‘Gliding’. The listener travels towards the sunny getaway that ‘Amber’, ‘Benetau’ and ‘The Universe As A Hologram’ propose. The album is an amalgamation of deep, warm organic atmospherics and dance music creating a mood evoking the relaxed warm summer evenings the title alludes to.

8. Christian Löffler – A Forest (Ki)

The forests of Usedom, north Germany in which Christian Löffler lived during the making of the album are the backbone of “A Forest”. Over the twelve tracks that make up the album a rich yet spacious tapestry gradually unfurls as we see an entrancingly atmospheric representation of dense woodland. Warm, organic samples of wooden percussion are underpinned with fragile synth melodies; the chord progressions recall John Tejada’s melancholic, sunset-tinged tracks combined with Pantha du Prince’s percussive rhythms, dense textures and obsessive attention to detail. Although the 4/4 bass drum dominates rhythmically it remains unobtrusive, lying low in the mix beneath hypnotic, dreamlike moods. The three vocalists on “A Forest”, Gry, Mohna and Marcus Roloff, are a new dimension to Löffler’s productions and imbue the album with an even greater emotional resonance. On ‘Swift Code’ lyricist and poet Marcus Roloff’s German spoken word passages alternate between implicit and explicitly threatening verses, Mohna’s  dreamy, fragile voice on ‘Eleven’ is surrounded by buzzing noises and distant bass frequencies. In one section her looped voice sits between chopping hi-hats and a bass line that rolls back and forth like sea waves. The beautiful ‘Feelharmonia’ features the Danish singer Gry whose mournful voice is embraced by shuffling percussion, syncopated drums, tapping wood blocks and a bouncing synth pattern. “A Forest” is a standout in its wonderfully elegant and atmospheric beauty.

9. King Felix – SPRING EP (Liberation Technologies)

This “SPRING EP” by King Felix (Laurel Halo working under a name taken from a previous EP) carries on the thread of the “Hour Logic EP”, notably the accelerated beats and ecstatic cries of ‘Aquifer’. The first three tracks, ‘SPRING01’, ‘SPRING02’ and ‘SPRING03’, are reconfigurations of the same instrumentation and theme, one that heavily references early nineties Detroit techno, in particular Drexciya’s underwater world and the sheen of early Model 500. Their rhythms are restless and shuffle constantly. Halo races the drums forward then scales them back to allow piercing synths to sit atop. The vast organ samples that screech through the opening of ‘SPRING 01’ are anchored by a visceral beat and razor-sharp synth textures. Only on the dramatic ‘SPRING03’ does she let a percussion-filled, 4/4 techno beat dominate. The final track, ‘FREAK’, is a collage of drones. Its sagging bass line looms underneath a quivering synth pattern and Halo’s submerged voice which merges into stretched-out chords. “SPRING EP” is coloured by its immediacy, moments of frightening suspense and an almost aggressive purposefulness. Though the four tracks string together as a narrative arc each presents a different personality and it is Halo’s ability that imbues the collection with cohesion.

10. Claudio PRC – Inner State (Prologue)

The young Italian’s debut album takes us into the abyss. It is a minimalistic world of profound and effortless deep, hypnotic techno and one that is filled with thick atmospheres, foggy dubs and unrelenting beats. Claudio’s love for techno and production skills is displayed with confident poise. In his own words, “In most of my tracks, the electroacoustic side plays the more emotional role, where the atmosphere created by the sound research and processing are my means to tell a story, while the rhythm reveals my natural matrix of energy I use to give life to these stories.” Opener ‘Echoes’ is a pitch black techno track with a relentless bass line that fold into waves of static and hi-hats. Intense, snapping percussion tops a droning bass line and cloudy textures in ‘Transparent’ and beat-less ambient track, ‘Leave’, provides a reflective moment before ‘Radial’’s vitriolic beats kick in. With “Inner State”, Claudio PRC has shown great potential while Munich-based Prologue maintains its output of high-quality techno releases.

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10. Ursprung – “Ursprung” (Dial)

 “Ursprung”  is Pantha Du Prince (Hendrik Weber) and Stephan Abry. The pair previously worked together when Abry contributed “sound sources played on prepared instruments” for Pantha Du Prince’s exceptional album “Black Noise”. “Ursprung” (German for origin) is a flawed release, it seems based on alternating a few standouts with tracks that fulfil an experimental role but don’t deliver an exciting listen. Yet it deserves a place on this list for the five tracks that provide a union of beautiful melodies, emotional depth and high production values. ‘Mummenschanz’ is a gentle track that weaves minimalist guitar chords and phrases into ambient textures above a pattering bass and snare drum rhythm that sounds like a relaxed Neu! cut. After a short measure of interplay between guitar and bass frequencies ‘Ohne Worte’ evolves into an uneasy groove of guitar phrases that are pulled along by a thudding bass drum, percussion and metallic textures which build to a frenetic climax. ‘Exodus Now’ is the album’s centrepiece: dense with guitar chords, icy synths, Neu!-inspired rhythms and buzzing noise. The hand of Hendrik Weber can be heard in the fleet-footed hi-hats and bell-like percussion. A move to African-sounding percussion and a solid melody halfway through the track adds an extra dimension. Texturally and atmospherically ‘Exodus Now’ is mesmerizing, a true standout. ‘Lizzy’ is the closest thing on “Ursprung” to what could be called technowith its sort-of danceable bass line and complimentary techno drum rhythms, percussion adding a frenetic touch underneath a playful melody. On ‘Kalte Eiche’ a clap and glistening synth arpeggio are interrupted by a thundering bass drum and stuttering snare rhythm. Clipped male vocals sit above a harmonising second male voice all the while its stuttering rhythm refuses to slot into place. These five tracks contain emotional resonance coupled with stunning atmospherics and textures, motorik rhythms and delicate minimalistic guitars underpinning it all.

9. Mohn –  “Mohn” (Kompakt)

Kompakt pioneers Wolfgang Voit and Jörg Burger continue their long friendship with Mohn, a new project that comes with a self-titled album. In an effortless synchronisation of its parents’ styles “Mohn” (poppy in German) is full of atmosphere and sustained emotional resonance. The album contains nine tracks that could be an aural representation of a Casper David Friedrich painting: barren landscapes and colossal, other-worldly forces of nature erupting or the sound of the unnamed apocalypse that dominates Cormac McCarthy’s The Road. This is most apparent on ‘Schwarzer Schwan’, which begins with a ghostly synth and an immense bass drum that thunders under a delayed, drifting melody. The intensity rises as a second synth melody comes in and out of view. Male and Female voices enter singing held notes all the while that heavily reverbed bass drum thunders. Others are moments of fragility and beauty; any abrasive edges have been erased. Neatly sitting alongside Voigt’s exemplary work as GAS is ‘Ambientöt’, thanks to the long reverb tails that seep out into soft, sparkling atmospherics meanwhile ‘Saturn’ evolves into a track of delicate percussion and textures that flutter like a bird’s wings, recalling Cluster’s “Sowiesoso”. Flickers of the style of techno Voigt and Burger had a hand in creating can be heard in the sensual, slowly unfolding ‘Seqtor 88’ or ‘Ebertplatz 2020’, a wonderful decelerated ambient/techno track with a beautiful synth part that drifts in and out, gradually building to an intense yet sombre climax; full of atmosphere and emotional resonance. On the haunting and unearthly ‘Wiegenlied (lullaby), the listener is brought back to an uneasy sense of dystopia: a lone cavernous bass drum signals the album’s end, it is a final death-knell of a human-inhabited world and the beginning of a post-human one. Added together, “Mohn” couldn’t be anything other than a Kompakt release – possessing fleeting tension strong enough to upset the glistening ambient clouds and expansive minimalism.

8. Marcel Dettmann – “Landscape EP” (Music Man)

The main feature of ‘Landscape’ is a slow, muted melody that swells underneath hissing and thudding drums that are classic Dettmann. Their syncopated shuffle evokes a broken electro rhythm. Though it’s uncharacteristically subdued for Berghain’s master of thunderous techno, an unsettling cry that repeatedly rises from the mix is the embodiment of the agony and ecstasy of peak hour. ‘Landscape’ is the kind of track designed for a skilled DJ, like Dettmann, to build a set around; a track that is capable of providing surprising twists for years to come. The accompanying remix by Answer Code Request whips the track into a fever of tension, the bass lines punches harder, a syncopated 909 snare comes to the fore and that female cry is unbearably loud. It’s a remarkable track though even at high volume it feels strangely distant as if the listener is hearing it emanate out of Berghain’s lauded walls rather than from the centre of sweaty elation.

7. King Felix – “SPRING EP” (Liberation Technologies)

This “SPRING EP” by King Felix (Laurel Halo working under a name taken from a previous EP) carries on the thread of the “Hour Logic EP”, notably the accelerated beats and ecstatic cries of ‘Aquifer’. The first three tracks, ‘SPRING01’, ‘SPRING02’ and ‘SPRING03’, are reconfigurations of the same instrumentation and theme, one that heavily references early nineties Detroit techno, in particular Drexciya’s underwater world and the sheen of early Model 500. Their rhythms are restless and shuffle constantly. Halo races the drums forward then scales them back to allow piercing synths to sit atop. The vast organ samples that screech through the opening of ‘SPRING 01’ are anchored by a visceral beat and razor-sharp synth textures. Only on the dramatic ‘SPRING03’ does she let a percussion-filled, 4/4 techno beat dominate. The final track, ‘FREAK’, is a collage of drones. Its sagging bass line looms underneath a quivering synth pattern and Halo’s submerged voice which merges into stretched-out chords. “SPRING EP” is coloured by its immediacy, moments of frightening suspense and an almost aggressive purposefulness. Though the four tracks string together as a narrative arc each presents a different personality and it is Halo’s ability that imbues the collection with cohesion.

6. Ital – Hive Mind (Planet Mu)

With his debut album “Hive Mind”, Ital disrupts and stretches the signifiers of techno and presents something that sits between the context of dancefloor and home listening. Starter ‘Doesn’t Matter If You Love Him’ takes those lyrics from Lady Gaga’s ‘Born This Way’ and chops and repeats the line until it becomes a faintly absurd mantra which then dissolves into a glitched drone. ‘Floridian Void’, a highlight, is a dark techno track containing an unsettling low end, queasy synthesisers, stretched-out vocals and a clap/hi-hat pattern that never quite slots into a liquid groove. Ital’s corruption of techno structure provides a thrilling yet disorienting experience, across “Hive Mind” there is an unshakeable sense of uneasiness:   the drums push yet don’t flow with a danceable ease and bass lines swing nauseatingly. Only until the final track, ‘First Wave’, is the listener provided with a breather, an ecstatic release of booming bass drums, a hands-in-the-air 303-aping bass line and rapturous synths; a blissful finale to “Hive Mind”. Outside of techno and wider dance music, the next clearest influence is the kosmiche musik of Cluster and Harmonia, which can be heard in the rising and falling harmonies in ‘Israel’. Many of the reviews of “Hive Mind” have discussed the album in analytical/academic rather than music/production terms, such as finding dystopian analogies within the paranoia-inducing elements that pervade ‘Privacy Settings’ to a life half-lived on computers or technology’s fast-forward-paced advancements. Yet to see and appreciate “Hive Mind” by its intelligent use and abuse of dance music signifiers increases the album’s longevity and emotional response and makes for a more satisfying and complete listen.

5. Blondes – “Blondes” (RVNG INTL)

Slotted between Kompakt’s elegant techno-pop and US dance music releases such as Laurel Halo’s output and the King Felix “Spring EP” (Laurel Halo’s pseudonym), “Blondes” captures a range of emotions and moods. Each pair of tracks are two versions of the same thematic idea, reflected in the paired song titles: ‘Lover’/‘Hater’ ‘Wine’/‘Water’, ‘Business’/‘Pleasure’. Similar to Kompakt’s model, the tracks’ dance elements are complimented by rich atmospherics and luxurious synths. Each track bears the duo’s extended, rippling approach to house and techno as do the slow builds and heady releases that contain a patient construction of melodies and texture.  ‘Lover’ opens the album with a Meredith Monk sample folded into a strident piece of late-night electronica. ‘Wine’ is calmer and smoother, a lithe vocal-filled track that flows into its partner, ‘Water’, a refined “Autobahn” recline that would fit beautifully in any Michael Mayer set. The Kraftwerk-esque ‘Business’ is set against the dark, subdued ‘Pleasure’. One of the most intricately constructed tracks is ‘Gold’, which follows its 4/4 guide through arpeggios, the distant sounds of percussion and Berlin techno melodies. ‘Gold’ and its pair ‘Amber’ glow in the distance, creating the album’s beautiful ambient conclusion. “Blondes” is a singularly impressive piece of work that enthralls and captivates.

4. Claudio PRC – “Inner State” (Prologue)

Claudio PRC’s debut album “Inner State” takes us deep into the abyss. It is a minimalistic world of profound and effortless deep, hypnotic techno and one that is filled with heavy atmospheres, foggy dubs and unrelenting beats. Claudio’s love for techno and production skills is displayed with confident poise. In his own words, “In most of my tracks, the electroacoustic side plays the more emotional role, where the atmosphere created by the sound research and processing are my means to tell a story, while the rhythm reveals my natural matrix of energy I use to give life to these stories.” Opener ‘Echoes’ is a pitch black techno track with a relentless bass line that fold into waves of static and hi-hats. Intense, snapping percussion tops a droning bass line and cloudy textures in ‘Transparent’ and beat-less ambient track, ‘Leave’, provides a reflective moment before the vitriolic beats of ‘Radial’ kick in. With “Inner State”, Claudio PRC shows great potential while Munich-based label Prologue maintains its status of championing high-quality techno artists.

3. Orcas – “Orcas” (Morr Music)

Named after the mammal native to the Pacific Northwest where Rafael Anton Irisarri (The Sight Below) and Benoit Pioulard hail from, their new collaboration as Orcas blends poignant, twinkling pop songs with shuddering masses of electronic sounds; a fusion of song-writing with ambient minimalism that stands somewhere between the piano-based modern compositions of Peter Broderick, the Field’s highly emotive techno and GAS’ subdued beats and stately atmospheres. ‘Pallor Cedes’ sets the tone of the self-titled album with rising and falling drones and a clipped guitar rhythm sitting under softly picked acoustic guitar and Pioulard’s aching repetition of the phrase “like coming up for air”. “Arrow Drawn”’s clever use of vocal double tracking and harmonies slowly seep into the listener’s ears as quiet acoustic guitar and piano merge into ‘Standard Error”s floating loop of sighs. Calling to mind GAS and Irisarri’s work as The Sight Below is “Carrion”, an unhurriedly evolving hymn that encompasses a distant beat, echoed piano parts, an irregular guitar chord and Pioulard’s gauze-covered sad-eyed voice. A standout is their sublime, glacial cover of Broadcast’s ‘Until Then’, a poignant tribute to the untimely passing of singer Trish Keenan. Continuing the album’s use of piano, the track is built on a close-mic’d delicately played piano which frames Pioulard’s reflective vocals. Dark tones that lurk beneath the surface surge to the fore three minutes in compacting everything under coarse static until a sudden drop back to a solo piano, making for an emotionally charged song. Across the album Benoit Pioulard’s vocals glide along amid quiet piano and guitar notes and backing textures that rise and fall in gentle interplay, vinyl crackle and natural reverb adding an important touch of atmosphere. “Orcas” is a beautifully dignified album that summons a sense of space, understated progression and emotional depth.

2. Claro Intelecto – Reform Club (Delsin)

Reform Club sits in a dreamy, foggy haze of serene melodies and reflective emotion. It’s comforting and inviting while deeply tender, the meaty production gives the tracks a thick texture. The album’s nine tracks sit together in a unified way; cleverly avoiding homogeneity – a result of meticulous compositions and the freedom Claro Intelecto’s new label Delsin has offered. Opener ‘Reformed’ matches ‘Voyeurism’ (from the “Second Blood” EP) in pace and style. Metronomic hi-hats push the tempo to 120 BPM (‘Reformed’ is the fastest of the nine tracks) while a bouncing bass line and snatches of strings top a driving bass drum. A standout is the next track ‘Blind Side’, which sounds like a Basic Channel track for this decade: a deep bass drum pushes forward a mysterious melody that is submerged under churning dub-techno percussive elements and metallic slivers of hi-hats. ‘Still Here’ takes the tempo down to 96 BPM. Reverbed percussion sits upfront, striking the listener, and melancholic, dreamy strings are embraced by the bass drum; a theme throughout the album is the depth and warmth in the low end frequencies. The beautiful, fluttering synth that appears at 3:25 in “Night Of The Maniac” is something to behold as it flickers above sonorous beats and a dark melody that is set against a counterpoint bass line. Album closer ‘Quiet Life’ features piano and fluctuating sheer pads to form a delicate, touching conclusion. Musically, emotionally and production-wise, “Reform Club” is one of the strongest, deepest techno album of the past six months.

1. Voices From The Lake – “Voices From Lake” (Prologue)

Voices From The Lake is a project born out of a friendship between Italian DJs/producers Donato Dozzy and Neel. Following on from last year’s beautiful, lucid “Silent Drop EP”, the self-titled album extends and deepens their ambient techno explorations with an emphasis on the techno component.  Listening to “Voices From The Lake” is an immersive experience as the textured beats and unhurried rhythms pour with a deeply hypnotic flow. The deep wells of ambient sounds develop and unfold at their own pace, creating a intoxicating sense of tranquility. ‘Iyo’ imposes scattered hats and percussion against a humid backdrop. Its drones leads us into the next track ‘Vega’, which introduces a pulsing bass drum underneath a soothing pillows and layers of tiny hits of percussion. The pair’s reworking of the previously-released ‘S.T.’ is a revelation. After 30 minutes of bubbling and vibration, the album’s first bass line emerges, a gently ascending and descending chord progression that creates impact while remaining airy and translucent. Rhythm, texture and atmosphere are the key components of this album, creating an enveloping physical presence that asks for concentration; a meditative state of listening. “Voices From The Lake” is something that is alive and breathing. Its patterns shift and morph in minute detail, so subtly and patiently that it gives the album an unusual flow, a feeling like it’s floating. The construction is painstaking, so much so you can’t tell where one track begins and another ends.In the context of sound design “Voices From The Lake” has far more emotional resonance than most releases, it has a warmth that feels inviting. Except for the mid-album detonation of melody and beats, this album ignores techno’s linear structure by replacing the rise-rise-rise-peak-explosion-descend progression with one that places builds and falls into tiny pockets of a wider, complex canvas. Donato Dozzy and Neel have created a unique, entrancing release that supplies the closest aural equivalent to waldeinsamkeit since Pantha Du Prince’s “Black Noise”, my top-ranking album of 2010.

New Artists

Unbalance

From Omsk, Russia, producer and DJ Unbalance was first introduced to me with his ‘The Russian Technothon’ mix, which incorporated tracks from Ben Klock, Norman Nodge, Marcel Dettmann, Lucy, O/V/R and DVS1 (also in this Sounds of 2012). Inspired greatly by Basic Channel and the Berlin sound, he has released three moist dub-techno untitled 12”s – Unbalance – Unbalance#1, a fourth is due soon, and several tracks on the Ukrainian Indeks Music and Sonntag Morgen. Describing his style as, “techno with different shades of moods, from deep atmospheric dub sound to pushy and aggressive groove, forcing [you] to feel different emotions [while] remaining in the framework of this techno music.”

DVS1

Though not a new artist, 2012 should see Minneapolis native DVS1 break through to wider acclaim like his mentor Ben Klock and Marcel Dettmann. His DJ sets at Berghain have seen him mess with the Berlin sound by playing attention grabbing, mischievous techno. Signed to Klock’s Klockworks label, his popular ‘Floating’, ‘Running’ and ‘Searching’ tracks have also displayed his playfulness and the influence of house and techno on his work. Hopefully this year will see the release of a mix on Ostgut Ton and more EPs.

Conrad Van Orton

Conrad Van Orton (a character’s name taken from David Fincher’s ‘The Game’) is a producer from Rome who creates broken and dirty dub techno. His work, like doom-filled ‘Matyr’, has been released on the Italian label Sonntag Morgen and his own imprint CRS Recordings, the name of which is again from ‘The Game’.

Voices From The Lake

Duo Donato Dozzy and Neel release their album on the 31st Jan after their evocative EP “Silent Drop”. Signed to Prologue, a small German label, the two Italians use Voices From The Lake to explore ambient techno and their EP is filled with organic textures and fluid, hypnotic rhythms. Their self-titled album, which recreates and refines their live performance at a festival in the mountains of Japan, looks to expand and enhance this.

Voices from The Lake Feat. Donato Dozzy & Neel – Silent Drop EP

Items & Things

With news last year that Magda, Troy Pierce and Marc Houle had left Minus to dedicate more time to their rebooted Items & Things label and promising releases so far from Madato, Danny Benedettini, party-starters Click Box and Houle’s new album “Undercover” due in March (his first to not be released on Minus), 2012 will see the label grow stronger and continue to sign and release music from talent they love.

Young Hunting

Though not strictly a new act, they self-released their debut album “Attachment In A Children and The Subsequent Condition” in 2010, the Edinburgh duo (not to be confused with the L.A. band of the same name) have just released their first 12” “Night of the Burning”, due for digital release on the 23rd January, on Blackest Ever Black. The duo have landed favourable comparisons to industrial legends Coil, slot beautifully into the label’s gothic aesthetic alongside their peers Raime and share textual, atmospheric and rhythmic similarities with Shackleton. “Night of the Burning” shows great potential for this duo and the label promise more material is on the way.

Oliver Tank

Oliver Tank brings together the disparate worlds of electronica and classical instruments such as the violin in a subtle and inviting way. Many artists spring to mind while listening to Tank’s music including Boards of Canada and Apparat though none truly manage to describe what he is actually achieving. He also shows a taste for pop with his excellent cover of Snoop Dogg’s ‘Beautiful’ and injects real emotion into his combination of ‘serious’ genres. With all this going for him, Tank has a bright future ahead. Oliver Tank’s debut EP “Dreams” is out now via Bandcamp.

A$AP Rocky

The hype around A$AP Rocky has been building for quite some time and he’s graduated to a new level of fame since the release of his critically acclaimed mixtape “LiveLoveA$AP” in November. Since then A$AP Rocky has signed a record deal that will see him release a deluxe version of “LiveLoveA$AP” featuring production from up and coming producers Clams Casino, Spaceghostpurrp and Ty Beats and others with a debut album due later in 2012. With the attention he’s been getting and the team of ‘cloud rap’ star producers he is working with, A$AP Rocky will be dominating the headlines this year.

Doldrums

21 year old producer Airick Woodhead from Montreal creates a unique blend of contrasting genres and sounds that combines “Bollywood strings, electronic smears, strangulated samples, and rickety breakbeats” into a delightfully twisted charming racket. His debut EP on No Pain In Pop followed the release of his remix of ‘Chase The Tear’ by Portishead as its official b-side and features six brilliant nuggets of genre hopping genius. As his label notes, “his music is a reaction to the overhyping and plasticity of modern youth culture. Doldrums’ music reflects this societal change on a personal level, as a member of the last generation to remember life pre-internet and 24 hour status updates. His androgynous voice comes across mid-panic attack, floating in a sea of chopped up samples, disembodied vocals and tribal percussion.  Spearing between electro-hallucinogenic freak outs and languid nostalgia, his tracks somehow manage to elevate classic pop melodies above a sample saturated sound collage.”

Gabriel Bruce

The lugubrious voice of Gabriel Bruce is the first thing that strikes about his music and sounds like Matthew Dear on his “Black City” album or Nick Cave is his tender moments. Repeat listens reveal a skilled musician and arranger who can combine and balance the subtle and the hard hitting on his beautiful debut single ‘Sleep Paralysis’. This also featured a 50 page book on the subject written by Bruce. As the year continues let’s hope we hear more from this very promising new artist.

New Albums

For a full list of upcoming music releases check out our New Music releases page.

Matthew Dear – “Beams” – Described as “a turn towards the light”, following Dear’s 2010 album “Black City”, “Beams” has had a teaser in the shape of the “Headcage” EP, which mixes Dear’s low-register voice with upbeat rhythms. The album should be out in the spring.

The Knife – “title tba” – Typically for The Knife, their announcement that they were working on a new album was spare of detail so nothing else is known but, after waiting six years since “Silent Shout” was released, a new album should be released this year.

Loops Of Your Heart – “And Never Ending Nights” (30th Jan) After his career ascension with ‘”Looping State Of Mind”, The Field (Axel Willner) has created the side project Loops Of Your Heart. The first single ‘Neukölln’ trades The Field’s emotive sound for a more apparent krautrock/kosmiche musik style and points to the direction “And Never Ending Nights” will take.

Orcas – Orcas (Feb) – Rafael Anton Irisarri ( The Sight Below) has formed a new duo with Benoit Pioulard called Orcas. With an album due out in February, the artists combine traditional song writing with ambient music production. Included on “Orcas” will be their cover of Broadcast’s ‘Until Then’:

Yeah Yeah Yeahs – tbc – No news on other than Karen O announcing the trio have been working on new music for release in 2012.

Errors – “Have Some Faith in Magic” (30th Jan) – The Scottish electro-post-rock band return, stream 1st single ‘Earthscore’ here. A big favourite here on Sonic Fiction hopefully this will be the year they break through properly and get their just rewards.

Julia Holter – “Ekstasis” (March 2012) – The second album from found sound artist Holter has become much antipated after her debut “Tragedy” did well in the end of year polls, will be interesting to see how see develops her unique sound.

Madvillain – (2012) – In a recent interview with Reverb Stones Throw’s Record head honcho Peanut Butter Wolf said the new album from Madlib and MF Doom is  “three-quarters done”, so hopefully this much anticapated album will be released at some point in 2012.

Congotronics vs Rockers (2012) – After watching the project’s rehearsals and performances unfold via the Congotronics vs Rockers blog the promise of an album of new material by the project is an exciting prospect.

The Avalanches (2012) – a recent tweet by Modular Records promised a new record by these Aussie sampler manglers as they finally follow-up to 2001’s “Since I Left You” album.

Spotify playlist:

Sonic Fiction’s Sound of 2012

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