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09.12.2015 admin
Trentemoller‘s latest album, Lost, is due for release on September 23rd on his own label In My Room.
I stumbled upon this little gem whilst checking out the fantastic Retro-Teque blog last week. Rene Pawlowitz’s Shed alias returns with two experimental curiosities that herald the release of his eagerly-anticipated third album on 50 Weapons. If like me, you like to make up words to go with Hot Butter’s Popcorn in your spare time, then this wonderful odd-ball single from 1972 is just for you.
100% Silk stalwart Ital (or Daniel Martin-McCormack to use his real name) released his debut album Hive Mind on the highly-respected electronic label Planet Mu last week. Released on the excellent Brooklyn-based label Sacred Bones, War’s debut 7” At War With Youth was released this week. After hearing Life’s A Gas on Laurel Halo’s superb mix for Oki-Ni the other week, I was compelled to dig out my copy of Love Inc’s often forgotten experimental album from 1995 and was promptly re-hypnotized (is that such a thing??) by the album’s title track.
As one of my favourite albums of 2011, Hyetal’s Broadcast was somewhat criminally overlooked in last year’s Best of lists (for shame music critics, for shame), Bristol’s Dave Corney (aka Hyetal) starts 2012 with his own storming interpretation of Searchlight – one of the standout tracks from his debut album. Another classic from the Kevin Saunderson vaults, this little beauty was recorded 1987 on KMS.
With its thrusting and sparse electronics and bass, the rhythmic percussion of the song veers effortlessly between techno and New Beat which has the led it to be sampled endlessly by a whole array of producers.
Taken from Luke Abbott’s debut album Holkham Drones, this deliciously dark Gavin Russom remix of the recently released 12” ‘Trans Forest Alignment’ is surely shaping up to be an early contender for remix of the year. Layered with eerie synths and atmospheric raw drums, Russom’s remix drives Abbott’s original into Pagan territory resulting in a mystical yet murky re-interpretation. Greg Broussard is one of the most influential electronic producers of the past few decades. It’s hard not to conjure up images of deserts, sports cars and robots when listening to this. Today’s SOTD is a 1983 “proto-techno” classic from Conny Plank, Dieter Moebius and Mani Neumeier. This is the place where you can check out what’s been tearing up my turntable or rather what I’ve been listening to when I’ve been walking down the Old Kent Road during the past week or so. Included on their RT-166 Turing Bites compilation of electronic library music, Brian Bennett’s stormy and chic electro-sax number is not the only delight on this compilation, but rather than me ruining it for you, I’d recommend that you download it for yourself.

Argentina’s most popular golden-haired triplets Las Trillizas de Oro were born in 1960 in Buenos Aires. Despite being only five tracks long, it’s well worth checking out for Martin-McCormack’s deconstruction and then reconstruction of house music that recalls the abstract murkiness of an Omar S or Theo Parrish production. The Copenhagen duo make marvelous lo-fi, dirgy post-punk dance records – if you can imagine such a thing.
Drifting in a Marc Bolan sample over Roxy Music’s True to Life is a  thing of beauty and results in some blissful electronic soft rock loveliness (is that such a thing?).
A lot more pumped up than the original, the Night mix channels energy that is normally found in the darker reaches of the dancefloor. Teaming up with Santonio Echols, Saunderson was responsible for the dark Reece & Santonio classic ‘Rock To The Beat’ and alongside “The Sound” is one of the all time house and techno greats. Most recently and notoriously was the utterly unauthorized sampling by Italian house producers Giacomo Godi & Emiliano Nencioni (Supernova) for their release “Beat Me Back”,  and you can read about what happened to them here… that’ll teach ‘em!
As former members of Tangerine Dream, Cluster and Guru, the trio were pretty accustomed to pushing musical boundaries, as this energetic and mad effort shows. Born on the 9th May 1964, Brooklyn New York, Saunderson is the creative powerhouse of legendary dance acts Kreme, Inner City and E-Dancer and alongside Juan Atkins and Derrick May, he is regarded as one of the innovators of techno.
While Trentemoller has steadily moved away from his notorious minimal sound to a more conventional band setup, I’ve been following his releases less closely (especially after his second album).
The soft and pervasive synth melodies are surrounded by clipped drums and flickering white noise, circling you in lovely a post-techno haze. The Fernandez sisters began recording novelty singles and appearing on national television from the age of 8.
Personally, this is definitely a grower as you get used to the swirling rhythms and the jarring sounds and EFX with each listen. Dre, I-F, Juan Atkins and even trendy young gunslingers like the Friendly Fires have been jumping aboard the Egyptian Lover Express. But anyway, is it this year’s first inquisitive electronic record of the internet age or some pretentious hipster house shit? A song about fratricide, this is basically the sound of a warehouse rave collapsing in on itself – with Cain and Able inside. You’ll realise quickly that all you get is a very pale picture, watered down by not-to-be-trusted records of oral history from the cities which played a major role in Techno.

You can grab this song alongside some other Moog-inspired moments on Andy Votel’s forthcoming compilation, Music Minus Music on Fat City. Historic developments are overshadowed by local characteristics and gossip.The bomb exploded. It splintered into thousands of little pieces, was absorbed by the mainstream or took the next available flight back into the underground. While House re-established itself over the course of the last couple of years as a clearly-defined term for a very specific pool of ideas, the term Techno is still in hibernation. DJ’s as diverse as Westbam, Marusha or Monika Dietl mixed styles and genres into a musical encyclopedia. While everybody around Shed focussed on HipHop, he himself was addicted to the sample-based sound of UK-hardcore.
Then there was a quick liaison with Gabba and through the back catalogue of Djax Up, he finally discovered Chicago and then Detroit.
While the mainstream did what it could to commercialise the music, Shed closed the door on the Love Parade, cheesy?
Between 1998 and 2002 he did not buy a single record.However, he never lost the love for the music which had changed his life.
Around 2000, he had finished some tracks, which combined and contained everything close to his Techno heart, things which were almost extinct in the real world. When he started shopping his demos around, the idea of his own label was already lurking behind the door.
On this album, he melts and merges rough and demanding dancefloor skeletons with shockingly detailed melodies, harmonic structures, irresistible hooks and airy arrangements.
Like it was in the founding days of the music, which today is a part of our culture.Shed is one of the few producers and DJs out there who know that you cannot write about the future without a nod to tradition.

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