Saturday, December 28, 2019

Rubsilent Chit Chat

The world has reached critical mass regarding DJs, and the onus is on the listener to sift through the shite and discover what can be unearthed. Under such trying circumstances however, some stars still shine brightly. One such is Istanbul resident Hamza Solim, aka Rubsilent; someone whose obvious passion for his craft is evident due to the prodigious amount of mixes he uploads which cross the two hour mark. This, of course, is not in itself an adequate gauge of quality. However, one listen to any of his many online offerings should quickly reassure the listener as to the high standards he sets himself and the passion for his craft. He first came to my attention a while back through the podcasts he’s produced for the wonderful Avenue Red series, which of course encouraged me to keep tabs on the rest of his output. So, speaking as someone who truly believes that for every person featured in a series like RA’s ‘Art of DJing’ there are loads more unsung heroes who can do as good, if not a better job. Here’s the result of some recent correspondence between me and Hamza, who very graciously agreed to answer some questions I put to him, and recorded a mix especially for this blog. Thanks again Hamza.

How popular is deep house in Turkey? Where are the best places to go and dance to it, and how would you describe the Turkish club scene?

Electronic music culture in Turkey hasn’t really evolved in a way so that sub -genres like deep house stand out among other styles and are accepted by fellow music lovers. Of course we have a community of deep house lovers but most likely the majority of these individuals are either DJs or friends with DJs.  Frequently, what is considered techno by some starts to become more popular but it is hard to tell whether such popularity is down to what clubbers are really into it, or it is just a reflection of escapism from the depressing socio-economical as well as political reality of the country, in the form of cold, rather monotonous emotionless beats. 

Unfortunately, the majority of electronic music clubs only last 2-3 years or less. We have long running places like ‘Gizli Bahçe’ and ‘Pixie’ in town, but it’s hard to classify these places as clubs. Somewhere that answers the description best is Minimuzikhol which is the longest running one and place to be. 

How does Istanbul compare to other big cities as far as not jut the house scene is concerned, but for record shops?

The majority of electronic music related events take place in cities like Istanbul, Ankara and Izmir, and to a lesser extent in Bursa and Antalya. Istanbul also has the highest GDP per capita and it’s the largest city which makes it far superior in terms of entertainment generally. The same goes for record shops too. I’ve never gone vinyl chasing in other cities outside Istanbul in fact I don’t do that here either. There hasn’t been any vinyl market for house/techno in Turkey since the mid 00s as everyone and their dog switched to digital from the inception of Final Scratch. There are a lot of 2nd hand vinyl shops in Istanbul for non-electronic genres, but that’s it. The Internet has been the only source for people like me for a long time. 

You posted an interesting piece on Facebook the other day, relating to the “natural boost” on social media. You want your mixes to be heard, but how important is this really to you? How much is it about you sharing and your own satisfaction?

The ultimate satisfaction for the DJ is the energy flow on the floor between the DJ and the crowd, while you’re in that moment engaging in one of the oldest rituals of human existence, dancing. But then there is FM radio and the Internet that enables your music to be heard by many more people. I think when sharing is involved it is no longer limited to being a true music lover and having  a love affair with music. Then expectations can change: being accepted and appreciated results in the drive to continue doing what others want you to do due to all the feedback you receive. This shouldn’t be confused with the “short term dopamine feedback loop” danger that we are all sometimes caught up in on social media because of likes, followers and loves though.  

How many takes do you typically finish a mix in, and how perfect does it have to be?

Sometimes when I have spare time at home I start mixing just for fun. This is part of me getting familiar with freshly purchased records. Then when it comes to record a session, it’s half spontaneous, half based on these practice sessions of discovering new records as well as finding out what goes with what. So all my mixes are done in one go and there is no digital editing. Once I’m done with the session I usually check it over the following days before sharing it online to see if I’m satisfied with the flow. Usually they pass the quality test first time round but sometimes all that genre surfing doesn’t result in a unique story telling approach, but more like some sort of scatterbrained one, which forces me to re-record the session by removing some tracks and replacing them with others. 

How therapeutic is the mixing process? 

Very therapeutic. At the end of the day the world is not such a beautiful place and in spite of cultural differences and living in different nations we deal with a lot of bullshit every day. Mixing records to tell a story is my way of escapism from this ugly reality called modern life. 

Do you have any aspirations to produce yourself? 

I haven’t really got involved with producing or writing my own music so far but I’m old and wise enough to never say never. 

Where does the name “Rubsilent” come from?

Nothing very deep. While living in the States I was still known as DJ Hamza Solim… As far as I remember back then this one night, just another night I was with a group of friends drinking, having fun then a DJ name was a matter of discussion; then an idea just popped into my head,  why not combine the verb “rub” with the adjective “silent” to come up with Rubsilent? So that’s how the story goes for this DJ moniker of mine. How I found it, what it means.  

Would it be fair to call you a vinyl purist?

I think so, yes, but it’s not so easy to continue doing it in a city like Istanbul. 
If I were DJing for a living I would’ve said good bye to vinyl a long time ago. 
Because first it’s too expensive, without another side (or main) income you can’t both pay the rent and bills and have enough funds left for records as a vinyl dj by doing local gigs only. Plus out of 10-12 maximum number of spots where you can “technically” play electronic music in Istanbul,  only 3-5 of these places have a pair of turntables, and don’t even ask me how easy it is to play records in half of these 3-5 remaining spots, whether you can have enough room for all your records in their booths, or the set up is built on a skip/feedback free solid floor or not..  

What is your set up?

2x1210 turntables my first ever pair. Ecler Nuo.2.0 2 channel mixer and old ass Gemini cd deck from 2001. Which is the source of a girl saying “Rubsilent” in my mixes. As I’ve explained before I never edit my mixes so all those DJ tags are done in real time via this CD deck. The only CD that remains in it is the one that contains the “Rubsilent” tag. 

How many records do you own and how do you manage your collection?

The current number is about 5000 pieces. Since my relocation from the States in 2007 I have kept an Excel sheet for the collection. I put a sticker on each new addition and assign numbers for these new records. They appear on excel by these numbers with such additional information like artist, ep, title, label, release, year,where purchased from. Post 2007 additions to the collection up to today appear on my shelves in this exact numerical order. Ones I purchased pre 2007 are filed under labels, cities (Detroit, Chicago, NY) etc. on my shelves. Not the best way of organizing records I suppose, especially if you keep buying and then selling records off your collection as these stickers could damage the cover while being removed. Also when getting ready for a gig, instead of a small portion of your shelves you may need to look in a bigger area as deep house, electro, techno and ambient could be sitting on the same shelve right next to each other due to numerical order but when I need to find one exact record all I need to do is go through the file  on Excel by typing the title, artist etc. 

What is your day job, and what are your interests outside music?

I work for a corporate business as a foreign trade and logistics manager. I like travelling and exploring different cultures. Because of my wife’s occupation I’ve been into independent films too. 

Do you have a favourite period of house music? If so, when was it? 

It would’ve been nice to experience all of the 2nd summer of love in England and/or live elsewhere and be in the middle of the whole house music movement since day one but growing up in Istanbul and being exposed to this culture here makes one’s whole house music perception different to those who have lived this culture for decades. So to me, there is no late 80s or early 90s era, everything started in the mid 90s for me. And if we’re talking about the music coming from these eras I’d say the mid 90s was the bomb.             

Who is the best DJ you’ve seen play? Why?

By far, The Innovator aka Derrick May. Why? Because he shows that DJing is too boring if you limit yourself to one style or only a couple of sub genres. There is a whole wide range of music out there, why not blend as much as you can and come up with something solid?  Plus listening to DJ mixes whether out at parties or home online shouldn’t require you to be all f**ked up on drugs, no? So it’s kinda hard for me to consider some of todays contemporary techno stars being the king or queen of it by playing one linear style for 2-3 hours straight, which is technically all clean and very mathematically correct, but somewhat being considered better than others? Sorry if I sound like an old geezer here. 

Have you ever cleared the floor while playing? If so, how did you react? 

Never really happened to me with a packed floor but probably many times as I was doing warm ups in the past, but I knew that people coming and going had nothing to do with the music. 

How many years experience to you need to become a good DJ? Can it be quantified?

A lot. It’s not about playing your favorite records to a group of friends and people. It’s all about the journey and who wants to join you on it. But of course with ever shrinking slots like 60 min, no journey, no ride only banging the box. Hence the explanation of a guy/girl with 1-2 years of experience as a DJ getting good gigs, because they’re somewhat good friends with the promoters… Let the CDJ to do the auto synching  for you with not so deep, not so harsh, not so vocally, not so minimalist, not so jazzyish grey area tracks you’ve got on your flash disc as the audience isn’t expecting much from you dueing an hour long slot, only something to shake their body slightly to. So the question is who is looking for good DJs these days? 

How intuitive are when you play? How planned is it and how spontaneous?

For playing out at gigs, 100% spontaneous maybe I only end up playing 2-3 records in the same order as I did at my previous gig or recent online mix, because they sounded too good to not mix them together again.  

How important is technical proficiency behind the decks?

I still believe in the importance of essentials like beat matching. It’s not everything but without being able to do it what sort of technical proficiency should we look for in a DJ? The ability to use an FX unit and to read what’s written on the CDJ display in the dark? The ability to navigate within digital folders while spinning, and not to f**k up the venue’s PA system? Or maybe we shouldn’t expect any technical proficiency at all. Due to the love of music should everyone who has the courage to stand in front of the crowd and control some digital equipment be entitled to be called a DJ? 

If you had to pick five tracks that have always been with you, what would they be? 

Not that I carry these records with me to each and every gig, but these usually make their way back to my record bag more frequently than others among my collection.

How I Feel - Lil' Louis (Dance Mania)

In my Head - Gemini (Classic)

I Got Life (KZR's Manic Dub) - Kemetic Just Feat. Terrance Downs (NDATL Muzik)

The Resolution - Octave One (430 West)

Home Town Chicago LP  - Boo Williams (Relief)

 And a current five that are essential?

Hard for me to come up with track names as I constantly change my record bag for each gig but I’d rather mention some current favorite labels instead

For Those That Knoe
Lunar Disko
Frame Of Mind

Finally, how would you describe the mix you have put together to accompany this interview? 

I wanted to do some story telling as I usually intend to while recording a mix. I didn’t wanna restrict myself to one style, era or feeling either, so it’s a mixture of old and new, deep and floor oriented stuff,  slightly leaning more towards techno, deep techno territories, mixed in one go on my living room set up. Hope you and all listeners enjoy it. 
Thank you 

Monday, December 23, 2019

We Are The Mod! - London Modular (Electrix)

Title: We Are The Mod!
Artist: London Modular
Label: Electrix
Cat Number: Electrix014
Genre: Electro

1: Concerning Irregular Figures
2: Exit Strategy
3: Glove Box
4: Glove Box (Assembler Code Rewind Remix)

With artwork and a title which combines Bradley Wiggins’ favourite roundel and ‘Quadrophenia’, London Modular confuse the issue by producing three tracks of very forward looking electro. ‘Concerning Irregular Figures’ has the fullest sound on this release: it’s well-rounded, bass-heavy and flows eloquently. Both ‘Exit Strategy’ and ‘Glove Box’ are paired down exercises in skeletal machine funk. The beats sounding like sonic renditions of synapse transmissions. Assembler Code adds some bounce and energy on his remix, remaining faithful to the original in most other respects. You don’t need a mohair suit to dance to this, but it could add subliminal emphasis.

Tuesday, December 17, 2019

Existenz - Function (Tresor)

Title: Existenz 
Artist: Function
Label: Tresor
Cat Number: TRESOR315
Genre: Techno

            Sagittarius A (Right Ascension)
 2. Pleasure Discipline
 3. Ertrinken
4. Growth Cycle (feat. Robert Owens )
5. Zahlensender
 6. The Approach 
7. Nylon Mood 
8. Alphabet City
9. Don't Ask, Don't Tell 
10. No Entiendes 
11. Kurzstrecke 
12. Golden Dawn (feat. Stefanie Parnow) 13. Interdimensional Interferenc
 14. Distant Paradise
 15. Be (feat. Robert Owens) 
16. Vampir 
17. Downtown 161 
As is so often the case, albums which really stand out are released towards the end of the year. Such is the case with ‘Existenz’, a piece of work which I am happy to say doesn’t feel it necessary to go to far out on a limb. Having said that, its breadth is phenomenal and evidence of a true sonic auteur. Not going out on a limb only inasmuch as what is contained within these grooves is on the one hand desirable, and on the other expected. Although, unpredictable it is not, The way Robert Owens’ vocals are used on ‘Growth Cycle’ being a case in point. The methodical approach to sequencing and juxtaposing the featured compositions ensures a seamlessly arranged multifariousness. The ambient interlude provided by ‘Zahlensender’ following on from ‘Growth Cycle’, which itself provided a peak of sorts atop a ream of minimal machine funk is an early pointer to the fluctuating nature of the overall arrangement. The album works on a subliminal progression of sound waves and sentence word stress; its length demands such an approach. It’s not a full on listening experience in the stereotypical techno sense, but reminds me a little of the immersive experience listening to an album can be, with all potential variables showing their hands. ‘Downtown 161’ is a dislocating experience, with its sped up house deep in the mix, amidst analogue warmth, while ‘Distant Paradise’ provides a flipside, the structure more defined and sharper. All in all this is a towering piece of work which manages to fight on all fronts, from the conceptual to the physical.

Saturday, December 07, 2019

House 2001

A mix of mine from 2001 which was sent over by cousin Mathieu in Berlin. Apparently he hadn't been able to stop playing it all week, and who am I to argue? Sound quality could be better, but the mix is pretty decent. Track list when I can sort it.

Off the top of my head, Fantasy - Blaze, Jack Another Day - The Innocent, Casafied Modern Music - DJ Catt & DJ Foxx are all in there.

December 2019 Chart

Cas9 Experiments – ITPDWIP (WERD)

Although categorized as electro, that isn’t always the case with this release. It’s only the three tracks on side two which fall into this category, and they are sufficiently left field to go their own way. Abstract and original.

 Stream Of Data EP – D Roots (Dolly)

More straightforward electro, and done with some funk and panache. A quartet of reliable compositions which will ignite any set at any point in the proceedings.

 Nightmoves 2 – Grumptronix (Wormhole Wisdom)

The second of Wormhole Wisdom’s Grumptronix reissues. More nineties electro which sounds just as ahead of the pack now as it did then. ‘Dub Sea’ provides an ambient interlude.

Fallen vs Eclipse EP – Etienne (Melliflow)

Etienne has a good approach to a certain strain of house music; funky, bass-heavy and groovy, he has a safe pair of hands, his tracks being metronomic exercises in setting the control for the heart of the bass. Nothing is overused in this economical quartet. ‘Dash’ is my pick of a varied and inventive EP.

Metal Glo – Roza Terenzi (Klasse Wrecks)

The tracks on this release thrive on a discordance which is fused and honed with microscopic precision. The originals and remixes, which both shine, combine a sonic smorgasbord which coalesces to produce memorable, off-kilter results. 

Fusion EP – Daniel Broesecke (Vivus)

Three pieces of essential, deep minimalism which lope along a lateral line of druggy messiness. Cracking EP which does just what it says on the tin and avoids any high end, gossamer strength silliness. Nice bottom heavy sound and a disorientating sense of itself.

Music Brought Me Here EP – Chrivu (Midas Touch)

Similar vibe to the Daniel Broesecke release, but not as linear an experience. Just as spaced out and funky though; there’s some air within the beats here, which adds body in the absence of bass. Vlad Arapasu remixes here as he does on the ‘Fusion EP’, to some effect both times.

 Palinoia LTD 001 – Donato Dozzy/Eric Cloutier (Palinoia)

Double header of an old, unreleased Dozzy track and one from label head Eric Cloutier. Dozzy’s is sub-aquatic trance of the highest order, while Cloutier’s toughens it up with a hypnotic, funky, driving digeridoo. Both excellent, both essential.

 Exomoon – E.R.P. (Forgotten Future)

This sold out within half an hour of it being put out on the Mojuba mailing list, which is annoying but predictable, given Gerard Hanson’s God-like status. This release doesn’t fool around, it just presents you with six tracks of the purest, cosmic electro with the two tunes on side three teching it up.

 Nocturnal Passions Part lll – Area Forty One  (Delsin)

Slowed down interplanetary interludes. Electro on side one and space mini symphonies on side two. Razor sharp production and an intuitive sense of impending doom; which is nice.

Monday, December 02, 2019

Voom - Red Axes (Dark Entries)

Title: Voom
Artist: Red Axes
Label: Dark Entries
Cat Number: DE-268
Genre: Indefinable Disco

1: Voom
2: Dosa
3: Mister Q
4: Prblems

This release sees Red Axes delve deeper into the realms of off-kilter disco with four mid-paced warpers that will disorientate and devastate given half a chance. There are peaks a plenty in this package; none more so than during ‘Mister Q’, whose hard edged synths, tempered by Plastikman style beats allow a hoover-like drone to take hold of the mind, body and soul. ‘Dosa’ plays with the senses in a similar way, but is less claustrophobic. ‘Voom’ is a synthetic breaks-driven symphony while the ten minutes of madness that is problems sees tempos change along a trajectory which dives in and out of reality. 

Eye in the Sky - Christopher Joseph (Flexxseal)

Title: Eye In The Sky
Artist: Christopher Joseph
Label: Flexxseal
Cat Number: Flexxseal010
Genre: Techno

1: Eye in The Sky
2: Lick The Honey
3: Nothing69
4: Leaving Ringworld

‘Eye in The Sky’ is one of those tracks that manages to be both uplifting and sinister at the same time. It reaches a crescendo that evokes euphoria, while at the same time modulates expectations by flattening out its synthetic crescendo. It’s the most all-encompassing composition on this four tracker. However, that doesn’t mean that the other tracks don’t have their moments. ‘Nothing69’ emphasises the low end and relies on a piano, feather light breaks and a menacing drone to evoke a feeling akin to falling through a hole in the ice and slowly sinking. Both ‘Leaving Ringworld’ and ‘Lick The Honey’ pound, the former more relentlessly, the latter more funkily. This is essential stuff from Christopher Joseph, who doesn’t miss a beat and whose singular style feels disturbed.   

SNKRO24 - Filter Dread (Sneaker Social Club)

Title: SNKR024
Artist: Filter Dread
Label: Sneaker Social Club
Cat Number: SNKR024
Genre: Revisionist Hardcore/Rave Vignettes

A1: Ice B8ss
A2: Space Conga
A3: Time To Let Go
A4: Heat Depth
B1: Ice Rave
B2: Crush Sphere
B3: Tekker Wave
B4: Afterlife

With a track list as long as your arm over two sides, I suppose concision is a must. So these modified, evocative, hardcore/rave composites fit the bill and then some. Each of them shines a light on a figment of the genre, the angle of the dangle being cohesive with maximum concentration and MDMA clean deployment. These full on facets of fun neither begin or end, but are snapshots of a golden age which has never disappeared in the minds of its actors and protagonists. A spectrum of breakbeats, videogame cacophony, sub bass and  disembodied voices are the dominant motifs of a release that is a foundation for the future.

Wednesday, November 20, 2019

Darkroom EP - James Shinra (Craigie Knowes)

Title: Darkroom EP
Artist: James Shinra 
Label: Craigie Knowes
Cat Number: CKNOWEP22
Genre: Electro

A1: Kord
A2: Gyorgy
B1: Gritti
B2: At The End Of The World

A veritable pot pourri of critical beats this. Cross pollination at its most effortless and incisive. With this release, James Shinra has made sure that Craigie Knowes in ending the year on a high, and in a year full of them that’s no mean feat. Electro is the dominant motif, but it’s by no means the only one. From the opening bars of the impressive, multitude containing ‘Kord’, through to the trance-inflected, surfing on glacial synapses of ‘At The End Of The World’, this EP brings together multiple sonic strands and manipulates them with a lightness of touch that can only be described as masterly. Breakbeats play a slightly subordinate, but no less important role throughout, and rise to the top on ‘Gyorgy’, while ‘Gritti’ further emphasizes the acid squelches of its predecessor. Play loud and make it, and music like it, more than an after dark experience.

Obscurium - Noumen (CPU)

Title: Obscurium 
Artist: Noumen 
Label: CPU
Cat Number: 01010010
Genre: IDM

1: Mist
2: Hydra
3: Call of Darkness
4: Haunter
5: Clinch
6: Lock
7: Square
8: Spleen Tear
9: Winter Sighs
10: Arclight
11: Tail
12: Fading
13: Slick
14: Flow Through the Surface

I know nothing about Noumen, so I’ll stick to the music. However, if ‘Mist’ is a taste of things to come then he’s bonkers. The backdrop reminds me of Cabaret Voltaire, or more specifically Richard H. Kirk. It’s ominous, hints at the environmentally degraded and is pervasive over the course of this work. The foreground is largely composed of a glitch-embroided soundscape, and again is a template which is sporadically returned to. The music shifts from the chaotic to the more coherent: ‘Arclight’ being a impressively funky example of how to do unorthodox sounding breakbeats over bittersweet swathes of machine melancholia. ‘Flow Through The Surface’ is the soundtrack to an imaginary helicopter flight to Spitzbergen, infinitely glacial. ‘Spleen Tear’ is breathtaking in its microscopic clarity and sounds like the soundtrack to a stalking seen from a hypothetical Hitchcock production in a parallel world. Of course I know a bit more about Noumen now, I’ve looked him up and he’s from The Ukraine. Does he have any mates who hang off bridges or other tall buildings? The schizophrenic music he makes suggests that he might, (and do the same himself). ‘Haunter’ is just over four minutes of portentousness, and would be soundtracking the cutting of the turkey at every Christmas dinner if I had my way. This majestic piece of work is the interior analogue of an exterior world; which one though?

Monday, November 18, 2019

Signs of Disarray - Intergalactic Gary (Midnight Shift)

Title: Signs of Disarray (Midnight Shift) 
Artist: Intergalactic Gary
Label: Midnight Shift
Cat Number: MNSX018
Genre: Techno

A1: Signs of Disarray
A2: Invisible Intruder
B1: Nickel From The Bumper
B2: Mystified

As someone who doesn’t produce much, Intergalactic Gary’s releases are eagerly anticipated. His last outing was in 2016 with Pasiphae so three years later what do we have? Well, it’s gratifying that he hasn’t gone too far out on a limb with this release. Each of the tracks here would fit nicely in one of his sets, and resist the overly experimental. That’s not to say there aren’t worlds contained within the grooves. ‘Signs of Disarray’ differs slightly from the other tunes in its skittish nature and cavernous production. I daresay it’s as big room a sound as Gary gets; having said that, the whole release has an expansive sound; due, no doubt, to the mixing and mastering courtesy of Redshape and Simon of the exchange respectively. The other three compositions are all slow burners, insistent in their capacity to grind out a result. ‘Invisible Intruder’ stands out for me. It’s cold war melancholia making me nostalgic for the good old days: Interail travel through central Europe when it cost £30 for four weeks. Both ‘Nickel From The Bumper’ and ‘Mystified’ let a pervasive ominousness rise and fall in tandem with each other; the latter having the air of a paranormal incantation for a parallel church.

Rebuild - Field of Dreams (Tici Taci)

Title: Rebuild 
Artist: Field of Dreams
Label: Tici Taci
Cat Number: tt057
Genre: Chug

1: Rebuild
2: Rebuild (Deconstructed Mix)
3: Rebuild (Radio Edit)

You’ve probably read about Tici Taci sound tracking A Love From Out of Space and Andrew Weatherall’s sets generally. Ergo, the “chug” is already in your head. Not a bad thing to have as a wormhole though, is it? However, it would be over simplifying the music to go with said stereotype, even though there contains more than a grain of truth. ‘Rebuild’ is classic acid house before anything else. Of course it’s got that frictional pace, essential for the lower back pain massive who find throwing shapes over 120bpm as injurious as an autumnal Sunday afternoon in the garden piling up the leaves. And it’s also got annals of pent up, drugged up groove knowledge, which is important because it provides an omnipresent underlay to all that goes on in its ecosystem. The deconstructed version is good because it sound completely wacked out and is obviously the work of the slightly deranged, which makes it pretty essential shizzle. 

Friday, November 15, 2019

Dosis Multiple - Pfirter (MindTrip)

Title: Dosis Multiple
Artist: Pfirter
Label: Mind Trip
Cat Number: MT25
Genre: Techno

A1: Faith Healer
A2: Dosis Multiple
B1: Mshrmsvndlprk
B2: Universal Constant
Digital Only: Mayo del 68

Pfirter releases an uncompromising four tracker on his own Mind Trip label which embodies everything that a certain strain of techno should be; it’s layered, texture upon texture, tone over drone, to produce a quartet of endless, unsympathetic sonic symphonies the likes of which you have to be in a certain frame of mind to benefit from. For example, the contender for Only Connect’s Missing Vowels Round, ‘Mshrmsvndlprk’ would be so unsympathetic to psychedelic ingestion that it’s bad trips all round I’m afraid. So administer with caution, and under optimum conditions.

Wednesday, November 13, 2019

Morgenrot Remixes - Die Wilde Jagd (Minimood)

Title: Morgenrot Remixes 
Artist: Die Wilde Jagd
Label: Minimood
Cat Number: minimood021
Genre: Techno

A1: Morgenrot (Fangschuss Version)
A2: Morgenrot (Vactrol Park Remix)
B1: Morgenrot (Ancient Methods Remix)
B2: Morgenrot (The KVB Remix)
C1: Morgenrot (Rude 66 Remix)
C2: Morgenrot (Roman Flugel Remix)
D1: Morgenrot (Luigi Tozzi Remix)
D2: Morgenrot (Steve Bug Remix)
E1: Morgenrot (CV313 Remix)
F1: Morgenrot (Variant Remix)

Packages like this are made for the casual purchase of digital wares. Unless the quality control is so high that nothing can be ignored or the variety is so wide. Minimood call this type of release “multidisciplinary fusion”, which I suppose is one way of marketing it. The original is a ponderous thing, but with ample scope for improvement. So, deploy the remixes! It really is a case of small margins with most of these; a cursory listen covers so much similar territory. Anyway, those that stand out for me, in order of preference are Roman Flugel, Ancient Methods, CV313 and Variant. Apparently it’s a vinyl only release. Which is nice.

Zero Point Access - A-Future (EON Records)

Title: Zero Point Access 
Artist: A-Future
Label: EON Records
Cat Number: EON002
Genre: Brealks/Electro

A1: No Era
B1: No Era (Alex Jann’s Planet Transmit Mix)
B2: No Era (Secret Universe’s Biosphere Mix)

Tracks that successfully blend electro and drum and bass are few and far between. Thankfully, ‘New Era’ comes correct to partially address the balance. The original is just that, an effortlessly funky piece of work with a dark side to its DNA. The same is true of Alex Jann’s ‘Planet Transmit Mix’, which emphasizes the electro and subdues the breaks. Conversely, Secret Universe’s ‘Biosphere Mix’ lets the other half dominate over a dreamscape of what sound like malfunctioning, wasted synths. All in all, a veritable hat trick of tunes, each of them showing off something slightly removed from the other.