Showing posts with label Dub Techno. Show all posts
Showing posts with label Dub Techno. Show all posts

Monday, November 05, 2007

Glander "Vate"


Artist: Glander
Album: Vate
Label: 1Bit Wonder
Release date: 9 July 2007
Genre: Electronic
Style: Dub Techno


Tracklisting:
01. Nalepa
02. Hmbrg
03. Zavial
04. Nightie
05. Realize
06. Drift
07. Zavial [Stefanik Reshape]
Total running time: 66' 24"
"How Glander became part of our family is one more of those wonderful stories how music can connect people: As we approached him for a release on our label, he had already been working on tracks for us. After his highly acclaimed debut on our last compilation, Glander delivers six more tracks for 1bit 026. Melodies and sounds in constant transaction, chords echoing into deep space, all carried by solid bass lines. And to put the icing on the cake, Daniel Stefanik - dub brother in mind - returns to netaudio with one of his inimitable reshapes, developing "Zavial" into a real epic." [source]

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Saturday, October 20, 2007

DeepChord Presents: Echospace "The Coldest Season"


Artist: Echospace
Album: The Coldest Season
Label: Modern Love
Release date: 20 August 2007
Genre: Electronic
Style: Dub Techno/Ambient


Tracklisting:
01. First Point Of Aries
02. Abraxas
03. Ocean Of Emptiness
04. Aequinoxium
05. Celestialis
06. Sunset
07. Elysian
08. Winter In Seney
09. Empyrean
Total running time: 79' 43"
"Dub techno is a bit of a challenging listen, much in the same way, say, free jazz is. On first listen, the genres are practically opposites, but in approach and execution, they are remarkably similar—it isn’t about the melodies, it’s about the sounds and the feelings. The “challenge” in free jazz is to follow all the different parts down their winding paths and to see the craft and invention in its rendering. The “challenge” in dub techno is the opposite, to find the excitement and movement in what at first sounds like a static and unmoving piece.

Since dub techno was pioneered by the Basic Channel camp in the early ‘90s, casual listeners might not even have noticed much progression—after all, the template is basically the same concoction of deep, muted, echoing chords, subsonic bass lines, compressed hi-hats, and lots of tape hiss—and much the way that Ornette Coleman might sound just like Anthony Braxton to the untrained ear, so might Maurizio sound just like Thomas Brinkmann. Dig a little deeper into either genre, however, and the subtleties and nuances become more and more apparent, and one’s appreciation deepens. The devil may be in the details, but so are the thrills.

Detroit native Rod “Deepchord” Modell—he and Chicagoan Steven “Soultek” Hitchell are partners in Echospace, also a label—has been operating as a shadowy entity for some time now, unleashing limited-run singles over the years that fetch crazy sums on eBay. Now with this, their highest profile and best-distributed release to date, the pair have stepped up and released their masterwork. Judged on its own merits, The Coldest Season should stand as one of the best electronic releases of the year, and one of the best dub techno releases in the last decade.

Certainly, one can appreciate the music here on strictly a background level. The album definitely conjures a mood, and played at a low level, it creates a suitably laid-back, chilled atmosphere—downright icy, in fact. The beats don’t kick in on opener “First Point of Aries” until well past the three-minute mark, giving the swirling, hissing synths plenty of time to work up some steam (or frost, if you will). The tracks tumble and roll into each other through the entire first half of the album, each track morphing into the next, but distinct in themselves, and listening to these transitions, admiring the little differences from track to track, is half the fun of the dub techno experience. “Ocean of Emptiness” is nearly 12 minutes of beatless space; “Celestialis” is a shuffling, almost funky drive through the big city at night. Tiny trails of melody drift, barely audible, through “Sunset,” while “Elysian” ups the percussion and twists and turns the mix actively throughout its, almost aggressive. The biggest and best thrills are saved for last, however, as the closer “Empyrean” is the most inventive and downright catchy thing here, with a percolating rhythm track, spooked-out organ stabs, and a truly inspiring drop out. If anything here makes you leap for the repeat button, it’s this. Otherwise, just playing the entire album on a loop will do just fine, thanks.

With all this in mind, anyone going into The Coldest Season expecting some sort of radical departure from the dub techno style that has proceeded it will likely be disappointed. Basic Channel effectively invented the wheel of this genre, but that doesn’t mean that you can’t admire the latest models to roll off the modern assembly line. There are enough new wrinkles and, yes, thrills here to appeal to devotees and newbies alike." [source]

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Monday, April 23, 2007

Pole "Steingarten"


Artist: Pole
Album: Steingarten
Label: ~scape
Release date: 16 March 2007
Genre: Electronic
Style: Dub Techno/Glitch/Ambient


Tracklisting:
01. Warum
02. Winkelstreben
03. Sylvenstein
04. Schöner Land
05. Mädchen
06. Achterbahn
07. Düsseldorf
08. Jungs
09. Pferd
Total running time: 45' 06"
"Living up to one’s legacy as an artist is never an easy prospect, and following his pioneering Pole releases from the late ’90s (1, 2, and 3), Stefan Betke was staring this problem straight between the eyes. The stripped-down, dub-influenced techno he released during that time, alongside like-minded producers from the Basic Channel camp and others, changed the face of electronic music for the following decade—and with no sign of that influence dying down, the change may just be permanent. Which is all well and good for the ego and CV, but where does that leave an artist who has no interest in repeating himself? If his original plan was to break new sonic ground, how could this be achieved without either rehashing things he had already done or totally alienating his strong following?

Fair or not, it’s likely that nothing Betke issues from here on out will make people forget that early output. Betke’s sixth full-length album (and second on his own ~scape imprint) goes a long way toward solving that particular conundrum. After a rather unexpected side trip into hip-hop (including guest appearances from Fat Jon) on his self-titled album from 2003, Betke hasn’t merely licked his wounds and retreated into familiar territory, but fused some lessons learned from his own back catalog to create a shiny new beast, at once identifiable as his work and yet something tangibly different. In a blindfolded test I conducted (with the help of iTunes Party Shuffle function), I named the majority of these tracks as having a Pole-influenced sound, but only once correctly identified a track from this album as Betke’s own work. He hasn’t reinvented the wheel here, but he has pimped his ride a bit, with some fabulous results.

Most of the tracks here are built around short loops, and there are still significant dub and hip-hop influences present, as well as bits of old Pole standbys (noise/clicks/pops as rhythmic tools; deep throbbing bass; languid tempos). But this time out, Betke has mixed things in a different way; it’s still technically “minimal” music, but the layers overlap far more than they did in the past, making for a busier, more melodic landscape of sounds. Everything is richer, more fully realized, and when the bits of melody do float in and out of the mix, they are that much more memorable for having made their way through Betke’s layers. The beats are more varied, from hip-hop and R&B influenced breakbeat-type loops (“Warum,” “Schöner Land”) to funk (“Achterbahn”) to scratching, fuzzed-up Aphexisms (“Mädchen”); the basslines are more melodic, a departure from the heavy dub tracks of yore, more suited to moving asses than inspiring head-nods. When Betke’s trademark crackling, hissing noises appear, they don’t simply hang in the ether and loop themselves for the sake of looping—they’re far more integrated into the grain and structure of the tracks, a building block rather than mere ornamentation. This might not be Betke’s most groundbreaking full-length, nor even the most memorable, but the case can be made that it is his most fully realized.

The cover photo of Schloss Neuschwanstein is an apt visual metaphor for the music found within: ornate, serene, untouched almost to the point of it looking slightly surreal, like it was constructed of Lego as opposed to brick and mortar. It looks bright and inviting, even cozy in places, but is surrounded by desolate, snow-covered mountains, almost too perfect to exist in this reality. The layout is intricate and sprawling, but somehow conveys a sense of simplicity and economy. Just as this castle could easily be a snowblind mirage, Pole’s music exists in its own pocket universe—but one close enough to reality to be easily grasped and related to." [source]

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