There were several reasons for the popularity of minimal techno and
house in the late 90s and early 00s. For one, a lot of electronic
club music of the preceding years was quite boisterous. Its
ingredients and purpose was often not exactly subtle, satisfying
clubbers and listeners that emerged from the acid house and rave days
with direct signals and relentless dancefloor dynamics. And as soon
as a sound becomes too dominant in the club scene, there is a
reaction, and alternatives develop, and as it happened with the
minimal approach they might even take over what was happening before
and become dominant as well. And a freshly initiated influx of
dancers and listeners had also come with different musical
requirements. While the big room and big festival acts like Prodigy
and the Chemical Brothers converted a rock clientele to the dance
floor, a lot of people who earlier preferred less heavier independent
rock music fell in love with the early Detroit minimal techno
prototypes by Robert Hood , Jeff Mills, Richie Hawtin and Daniel
Bell, and its more dubbed out counterparts around the Berlin
conglomerate of Basic Channel and its affiliated labels, or Wolfgang
Voigt with his Profan and Studio 1 imprints in Cologne, or Force Inc.
and later Perlon in Frankfurt or Säkhö in Finland, or Peter Ford‘s
Ifach and Trelik labels. Furthermore the club scene itself went
through changes. Budget airlines stormed the market and made
travelling to parties affordable, new open air venues and festivals
entered the circuit but they had to make concessions to surrounding
areas and embraced a sound that was efficient without significantly
loud and low end sound systems. Also drugs like ketamine or GHB
became popular and their users liked a sound that was more reduced,
hypnotic and subtle. And soon enough minimal techno crossed over to
house as well, and was out to conquer.
Right
in the centre of these developments was the Frankfurt imprint
Playhouse founded by Ata and Heiko M/S/O, which began as the housier
end of parent label Ongaku Musik, along with its fellow sub label
Klang Elektronik. It put artists like Ricardo Villalobos on the map,
as well as Isolée or Roman Flügel with his Roman IV or Soylent
Green aliases, and they reinterpreted house music with a lot of
attention to details, abstraction, reduction and repetition. Peter
Kremaier aka Losoul was arguably the most defining artist in the
label‘s early stages, and his productions had a signature sound
that is still unique. He probably was inspired by the layering
experiments of DJ Pierre‘s wild pitch sound or the immersive deep
house of Ron Trent and Chez Damier, but his own tracks soon took off
into their own creative zone. Beginning with 1996‘s „Open Door“
the following 12“ releases „Mandu“, „Don Disco De Super
Bleep“, and „Synchro“ were masterclasses in dancefloor
mesmerism. Over beats more pumping than those of his label peers,
subliminal percussion and chopped chords, he worked with
deconstructed disco and funk loops and occasional vocal samples that
were so perfectly captivating that he could ride them over extended
tracks that gradually introduced element after element with logical
patience, resulting in trips you felt should never stop. But by the
end of the 90s the structure of his tracks became less strict, and he
also explored different sounds on dark, bass heavy tracks like
„Ex.or.zis.mus“ or „Brother In Love“, to fine effect. It
seemed what was still needed was an album to round up this artistic
phase of his, before he would potentially venture into something new,
or different.
When
said album „Belong“ was then released in 2000, it came as
surprise to many of his followers. The opener „Taste Not Waste“
is deceiving, as it is a brooding punchy excursion that would not
have been out of place on the preceding 12“s, but already the
following track „Late Play“ is a weird off-centre sounding sketch
in comparison, hinting at the fact that the artist would not give
away the chance to represent more of his repertoire than his
trademark club stylings. „Resisting Curare“ takes up on the
quirkiness, albeit speedier, while „Overland“ is an eccentric and
playful take on the ever reliable Billie Jean groove, coming across
like a cross between the original groove and „Kaw-Liga“ by The
Residents, with extra weirdness. Then things take another unexpected
turn with „Sunbeams And The Rain“, which in my humble opinion is
one of the most astonishingly beautiful and sublime tracks ever to
merge deep house and techno. Only slightly erratic, this majectic
masterpiece is followed by the chunky slow groover „Position“,
which dubs down the proceedings before the sparsely tripping yet
funky „Depth Control“, another demonstration how much you can
achieve with just a few thought-out, gripping elements. Next is „You
Can Do“, which contains the sunniest loop Kremeier produced up to
that point, a spiralling, almost balearic melody which does not let
go for most of the track, thus resulting in another track you can
completely lose yourself in, although it achieves that typically
intense Losoul sensation with an untypical joyful mood. The last
track „Trust“ is a warped and chopped hip hop version of Bill
Withers‘ „Use Me“ that would grace any tape of later L.A.
beatmakers, and it makes you wonder what whole other sounds the
artist might have left in the vaults.
Although
Losoul has continued to drop releases of consistent quality, I think
„Belong“ marks the end of a certain era, in which he acted as a
true solitaire, even among likeminded and similarly talented cohorts.
To me it seems that only shortly after the imaginative ideas of the
minimal techno and house of those years time soon were often forsaken
for a sound that was already looming, more eager to please, and less
interesting to listen and dance to, however exceptions might prove
the rule. But it is undeniable that here lies the foundation for
many backlashes and resurgences to come.
Chicago‘s DJ Pierre already had the credentials to be responsible for a lasting sound revolution in club music when he, together with Earl “Spanky” Smith Jr., and Herbert “Herb J” Jackson as Phuture, tweaked the knobs of the Roland TB-303 and came up with the squelching sounds that defined acid house. But regular visits to the seminal Wild Pitch parties put on by Bobby Konders and Greg Day in early 90s New York City inspired him to reinvent himself once again, and again with lasting consequences. The Wild Pitch parties consisted of several rooms with different musical agendas between reggae, disco, hip hop, house and techno. Pierre’s idea was to gather the diverse styles played into one track, but by applying a structure that stepped away from the traditions of club music functionality. Over the course of tracks often hitting or passing the 10 minute mark, he opted for a gradual introduction of a track’s key elements. Starting with the kick drum, every further sound was slowly and patiently layered onto another on a rolling groove, heaping up the intensity step by step until a climactic release. This may not read as being revolutionary, but it was executed so skillfully that it shook up the foundations of house, introducing a level of upbuilding tension and a hypnotic quality that was yet unheard of. And it also led to Pierre becoming one the most in-demand remixers in the years to come. Here is a guide to some classics and overlooked gems that defined wild pitch.
Photon Inc. Feat. Paula Brion – Generate Power (Wild Pitch Mix) (Strictly Rhythm, 1991)
The ground zero of the genre, and all the key elements are already there: the waddling groove, the standing strings, the stab repetition, the signalling vocal samples. The upbuilding structure was not as refined yet, but the intensity level sure was. This track literally ran over house music in its release year, and Pierre obviously noticed that he was onto something.
DJ Pierre – Muzik (The Tribal Wild Pitch Mix) (Strictly Rhythm, 1992)
DJ Pierre often said in interviews that wild pitch was inspired by his own DJing preferences of sneaking in elements of other tracks in long blends. „Muzik“ is a perfect example for that. Just check how its elements fade in and out, are repeated, modulated, replaced, continued and layered. It is a master class in structure.
Divided in four parts segued into another and add up to 15 breathtaking minutes, this track tore through dancefloors with a massive boom still seeking comparison. Yet it is actually clocking at 120 bpm, proving that pace does not equal heaviness. And it builds and builds. Someplace else, Chez Damier and Ron Trent were taking notes.
In discussion with rRoxymore on “KMS 049 B1” by Chez Damier (1993).
What was the first time you heard this track?
I think I heard that track on a recorded DJ mix that was often played in a local radio where I grew up. It was a mix by Darren Emerson, if I remember correctly, recorded during one of these epic raves at that time. Eventually I had that mix recorded on a tape myself, and I was playing it from time to time in my teenage bedroom after school or on weekends. This was in the mid 90’s I think. I never knew who was the producer of the track at that time, I discovered it years after.
Why does it stand out for you? What makes it so special?
It brings me right back to my raving teenage years, just listening to that tape in my bedroom. I think what has always caught me in that track is that gimmick, the weeping sound of the chords, it sounds almost like breathing, and also it is difficult to identify how that sound has been made. Is it the sound of a keyboard chords, or strings, or voices mixed with strings and something else? It has always been a mystery for me and and it still is. That sound, which is obviously the signature of the track, has an unusual character. It is almost some sound design. Even though I guess it is a just preset on a synth, haha. It has always stood out from the dance music production of that time and still is. Maybe because it makes it more difficult to categorize it. Just compare it to the A side which is obviously a House music track. The B side is much more ambiguous stylistically in terms of aesthetics. Is it House music or is it Techno music? That is why I like it so much.
The A-side of this record is probably as legendary. Do you like it as well?
Yes I like it too, but for me it sounds definitely more like a classic House track. Even though, as you said, it became legendary. Read the rest of this entry »
In discussion with Aiden d’Araujo on “Rhythm Zone Vol. 1” (1989).
You chose the cassette compilation “Rhythm Zone Vol. 1“. A format that in the 80s was probably still more common for discovering new music than its according CD counterparts. Were you taping radio at a young age, and was this your first foray into purchasing what already had caught your interest?
Yeah taping radio shows was a ritual when I was a kid – got that off my Mum who would tape mixes religiously. In the early nineties around ’92/’93 we had a studio in the loft with loads of gear like Junos and Rolands. The two guys who had the studio (you may have heard one of them under his Deadly Avenger alias who released the ‘Deep Red’ LP and now scores Hollywood films) lodged with us and I remember like it was just yesterday all the trippy, ambient electronica comin’ outta the studio – I would say reminiscent of acts like the Future Sound Of London. No doubt this influenced my Mum and she amassed a series of tapes that had early electronic auteurs on then such as Pete Namlook, Move D and Biosphere (she’s still got ’em!) whose nocturnal opus ‘Novelty Waves’ never fails to transport me straight to my childhood – you remember that iconic Levi’s advert featuring the steam train with that track on it right? Anyway, all these deep as the ocean odysseys would be the soundtrack to when I went to sleep. Warp’s ‘Artificial Intellgience’ comp was another fave, and I’d always be messin’ around with the FM dial to try scope out some more otherworldly obscurities…
Another interesting development was one of my Mum’s mates who when not spraying murals (he was and still is a revered graffitti artist who very kindly sprayed the House Hunting mural for me) would host shows on Birmingham-based pirate radio station Mix FM which he would sometimes transmit from our attic. This would be my introduction to Hip Hop – whether the Britcore of Gunshot and London Posse, West Coast flavour of Snoop Dogg and Souls Of Mischief or the politically-charged Public Enemy and ghetto rap of Biggie and Wu-Tang. GZA’s ‘Liquid Swords’ and Souls Of Mischief’s ’93 Til Infinity’ always on rotation must have proper wore those tapes out on my Walkman. As well as Hip Hop on Mix FM there would be some Soul, Funk, Disco, Electro and House – which when you’re 8 years old listening to all this was a pure mind trip…
So I didn’t really need to buy tapes as there were so many avenues where I was exposed to it. Another influence was my Dad who was split from my Mum so I would stay at his on weekends 10 mile up the road in Leicester. He was in a band that covered a lot of Rock and Blues classics who were a bit of a hit in the mid-nineties with loads of bookings all over The Midlands. Anyway Leicester has a big Afro-Caribbean community and every year hosts the Leicester carnival (second only to Notting Hill in size and scope) with Aba-Shanti representing so Dub and Reggae was also the sound of my Dad’s household – he loves all the Rhythm & Sound albums I’ve got him!
Did you try several compilations and this was the one you liked best, or was this the only one at first, and by coincidence it was also the best choice to get introduced to the US import dance music styles it showcased?
This was the first I bought and I remember clocking the naff early 90s trippy artwork complete with the tag line “A galaxy of imports for under a fiver”. It was a quid so had to be copped – I thought it may be like the deep trips on my Mum’s armada of ambient tapes. It was pure coincidence that the first one I got was the best introduction to Chicago House, Detroit Techno and New York Garage. Not long after I bought ‘The Rave Gener8tor II’ tape where again the cover art enticed me and had some choice cuts on it like the Underground Resistance remix of ‘The Colour Of Love’ by The Reese Project and some Murk flavour via Liberty City’s ‘Some Lovin’. There were only a few decent tracks on this one though as was on a more hardcore tip which I weren’t feelin’ as much. Always went back to ‘Rhythm Zone Vol. 1′. Read the rest of this entry »
The first of a series of mixes that contain records I most played at my residency at Tanzdiele club in my hometown Kiel, from 1995 to 2001. The artworks are from a fake newspaper form the future that we made for a sci-fi themed night once.
Peter Kruder – Verspertilio Stablo 9996 – A Spekter – Pipe Bomb Container – Rattler Dresvn Feat. Sensational – Bliss (DJ Sotofett’s Orgel Versjon) STL – Mindbender Helium Robots – Jarza (Theo Parrish Translation 2) Mike Huckaby – Baseline ‘87 Terrence Dixon – The Parkhurst Arttu Feat. Jerry The Cat – Get Up Off It Bernard Badie Feat. Muphan – Bones A Made Up Sound – Take The Plunge (Beat Mix) Answer Code Request – Reflected Gerry Read – Roomland Ike Release – Outrun Wax – No. 40004 A Photek – Sleepwalking (Falty DL Remix) The Exaltics – One Circle Auto – Ms. Minnie Philipp Quehenberger – Uffuff (Patrick Pulsinger Out Of The Box Remix) BMG & Sal P – Credit Card Brandt Brauer Frick – Bop (Pépé Bradock Geoduck Dive) Soundstream – Just Around Reel By Real – Untitled 214 – Drift Divin’ Legowelt – Poverties Paradise Peter Kruder – Xenomorph Simoncino – Inga’s Creme (Chez Damier Morning After Mix Part 1) Norm Talley – Tell Me (Late Night Creeper Version) Drivetrain – Driven Gerd – Palm Leaves (Mr Fingers Afropsycojungledub Instrumental Mix) Cosmic Metal Mother – Time Is Now (Fingers Dub Mix) Aggy – 808 Vybzin June – Lost Area (DJ Sprinkles’ Lost Dancefloor)
A mix with some 90s house records I hold very dear.
Mr Fingers – On My Way (Pinky Blue Mix) Lovechild – Sweet Ambience (Deep Dub) Chez Damier & Stacey Pullen – Forever Monna Inner Soul feat. E. Scott – I’m In Need 4 U Sound Waves – I Wanna Feel The Music (Smooth Mix) Sensory Elements – Explain It Jazz-N-Groove – Do Ya (Marcs Lunch Pale Mix) Equation – I’ll Say A Prayer 4 U Debbie Gibson – One Step Ahead (Masters At Work Mix) Yohan Square – Love Of Life (Genesis Mix) Mark Rogers – Twilight For Some (Hurleys Twilight Mix) Subculture – The Voyage Joanna Law – Love Is Not Enough (Mix D’Ambience)
Die Faszination der Labels Prescription und Balance ist weiterhin ungebrochen. Erfolgreiche Reissues, irrsinnige Online-Marketplace-Preise und zahllose Versuche des internationalen Nachwuchses in unterschiedlicher Fallhöhe, die Magie der klassischen Veröffentlichungen für das eigene Profil abzuwaschen, künden immer aufs Neue davon und selbst das lange Schweigen von Chez Damier und Ron Trents fortwährende Abstecher ins jazzig-spirituelle Dudel-Muckertum ließen den Glanz ihrer Großtaten nie verblassen. Es erscheint mir etwas sinnlos aus dem Katalog eines der klassischsten Deep-House-Labels den definitiven Klassiker zu bestimmen, da hat jeder seine eigene Geschichte (wen es dennoch interessiert, bei mir wäre es “Forever Monna“, aus verschiedensten Gründen). Also soll es hier um “The Nature Of Retribution“ gehen, aus dem einfachen Grund, dass diese Platte zum Zeitpunkt ihres Erscheinens 1995 eine Art Rückschau auf die eigenen Karrieren war, und gleichzeitig alles aufwies, was diese zumindest im Kanon von Deep House für immer andauern lassen wird. Alles was des Afficionados Kultdetektor fuchsig macht, ist hier vertreten: Die Platte verzichtet vollkommen auf Credits. Keine Titel, keine Autoren, nix. Wozu auch, es ist offensichtlich wer und was hier dahinter steckt. In neuen Versionen schaut Chez Damier noch mal bei seiner legendären 49 auf KMS und Chuggles vorbei, und Ron Trent bei Nagual. Dazu gibt es noch einen für sie typischen, luftigen House-Gospel, der vermutlich eine Gemeinschaftsproduktion ist. Was sich hier wie eine relativ profane Vorgehensweise einer überschaubaren Werkschau liest, versammelt jedoch eine Ansammlung von Tracks, die bis heute alles in den Staub schmettern was ihren Weg kreuzt, in Neuversionen, die mindestens in der Lage sind das Gleiche anzurichten. A1 ist eine geradezu frustrierende Lehrstunde darin, mit wie wenig man wie viel erreichen kann. Ein Beat, ein paar Akkorde, ein versprengtes Vocal-Sample. Fertig ist das Meisterstück, auch wenn es, wie auch schon bei früheren Tracks der Labels der Fall, hier in einer Kürze zum Verzweifeln fast nur skizziert wird. A2 ist der wilde Ritt zur Disco-Himmelspforte, bis zur Atemlosigkeit vorangetrieben, de- und rekonstruiert aus Sample-Versatzstücken des klassischen Disco-Erbes und den Insignien des eigenen Stils. Auch eine Lehrstunde, nur mit anderem Inhalt. Wo tue ich was hin, damit es wie funktioniert? Im Ergebnis wieder ein Meisterstück. B2 ist dann schließlich die noch eine geniale Lektion, und zwar in Sachen hypnotischer Eindringlichkeit. Wild Pitch trifft auf Dub trifft auf Chicago-Bounce, keiner der drei war danach wie er vorher war, und der Hörer, glücklich verloren im Sog, schon gar nicht. All das veröffentlichten Damier und Trent in einem ausgesprochenen House-Krisenjahr mit wenig Konkurrenz auf Augenhöhe, was die Wirkung und Verehrung folglich noch erheblich potenzierte. Und so rechtfertigen sich auch mindestens die nächsten 14 Jahre Kult- und Legendenstatus.
Berlin‘s Finest Hunee schreitet auf seiner EP für W.T. auch als Produzent majestätisch die Ländereien zwischen Spezial-Disco und -House ab, die er als DJ schon seit geraumer Zeit gehörig im Griff hat. „Tour De Force“ ist ein verspulter Premium-Boogie auf Billy Frazier-Fundament, der sich mit einem beachtlichem Soundarsenal auf einen langen Weg macht, etliche Haken schlägt und dann unvermittelt in schönsten Lichtungen auftaucht. Bei „Cut Down Trees“ hüpfen die Beats und Basslines wie aufgekratzte Spatzen auf dem Telegraphenmast übereinander und werden periodisch von Abendsonne-Flächen gebändigt, und gute Freunde von Cajual und Relief grüßen im Vorbeigehen von unten herauf. Auf der anderen Seite der grandiose Tiefflieger „Rare Silk“, der sich in der Originalversion an Boo Williams, und im Remix an Chez Damier und Ron Trent anlehnt, und dabei verdammt blendend aussieht.
This is very early electronic music, from White Noise’s first album from 1969. They were among the first to use synthesizers in a rock context and their music became very influential later on. This particular track seems indeed way ahead of its contemporaries, and it is pretty wild.
I didn’t know that at all. I had problems listening through it, it is almost disturbing. From today’s point of view it maybe is not that overtly experimental anymore, but setting it into the time of its production, it is very cool.
There certainly was not much comparable music back then.
The sound is very good. They already had synthesizers? There is a lot of space in the production. If you would not have told me, I would never have guessed that it is so old. The arrangement and the noisy parts reminded me of destructed Amen breaks, totally distorted. Very interesting.
Quartz – Chaos
The next one is by Quartz from France . Also early synthesizer music, but within a disco context.
I was not into that at all. My calendar does not really start before 1990 or so. Even stuff like early Model 500, Cybotron, it is ok, but it’s not mine. I also can’t get into Kraftwerk. What has been called techno from 1990 on was what got me to listen to music consciously for the first time. I was never the one to check the influences on music that I like. I know Disco only from TV, Saturday Night Fever and such. I was never really interested in it.
Is that based on a basic antipathy towards the sounds of disco music?
There was a short period I found it exciting, around the time the filter and cut-up disco house arrived with DJ Sneak, all the sample stuff. But that was over pretty soon when all the records started to sound the same. So yes, it is based on principle that I don’t like the sounds too much.
So you were more interested in how a track was built on samples than where they came from?
Exactly. It was fascinating to me how all could be said in a loop that went for three minutes, if it was a cool one. Longer than that it could get boring. Of course you can’t compare that to what happens in the original disco track, there was more happening there than in house tracks, which only used bits. It was interesting that many people used the same samples and you became aware that there must some source for it. But sample based productions are not my philosophy. I never wanted to just use bits of other people’s music.
Those disco house records also did not always pay tribute to disco, they deconstructed it, and often in a not very respectful manner.
Not at all. It’s strange how American producers often deal with each other, all that stealing amongst themselves. But in the end we all benefited from that (laughs). Read the rest of this entry »
Recent Comments