Techno

Sandwell District - Immolare - Function Version (1)

Sub.spiele

Ritou

A year on from 'Fernweh', Laux is releasing two split remix EPs that give the album a complete re-imagining. There are edits from the likes of Steve Rachmad, Ray Kajioka and one Marcel Dettmann.

Dettmann is arguably one of the finest techno DJs on the planet and if he's not rinsing the Berghain sound-system, he's touring non-stop and running things at his stellar MDR imprint. 

For his edit he's served up a fierce, menacing and calculated track, one that uses monstrous kicks, demonic synths and driving hi-hats.

We've got the premiere and if you like techno, you're in for a real treat. Check it.

Premiere: Heiko Laux 'Fernweh' (Marcel Dettmann Remix)

Pact Infernal's debut release 'The Descent [Chapter I] arrived in early 2015 on Samurai Horo. A slow flock of unexpected, but very welcomed, fans from outside of the labels normal market began to build. One of the more exciting admirers of the Pact Infernal EP was Berlin based Lucy who offered to rework 'Chapter I' into his own stylistic interpretations. The resultant 2 remixes incorporate elements from all 4 tracks on the first EP into 2 long pulsing, hypnotic grooves. If subtlety was the main instrument of the originals, Lucy's versions refine that instrument into a new form and sprinkle carefully plucked references delicately around his sinuous rhythms. Over 25 minutes of delightful audio hypnosis from one of the electronic worlds favourite individual voices.

http://www.samuraimusicgroup.com/products/pact-infernal-the-descent-chapter-1-lucy-remixes-vinyl

Pact Infernal 'The Descent' (Lucy Cosmic Remix) [Samurai Horo]

get it here: http://www.beatport.com/track/too-far-marcel-dettmann-definition-1/3129210

Morphosis - Too Far (Marcel Dettmann Definition 1)

from 'Negative Fascination' [Hospital Productions]

I do not own this! As always, if you like what you're hearing, please buy the release and support the producer. 

Silent Servant - Invocation Of Lust (Original Mix)

With ‘Wordplay for Working Bees’ Lucy creates a blueprint, not just the departure point for the full length format according to Stroboscopic Artefacts, but he also lays down new possibilities for the techno album. Refusing the obvious 4/4 route, Lucy traverses the widest possibilities of electronic music. ‘Wordplay for Working Bees’ encompasses IDM that leans towards drone, puckering, dub-filled techno and ambient in its most oblique forms. The beloved character of Lucy’s DJ sets, the way he layers tracks to find unique timbre and tone, is reflected in his studio approach. Lucy’s debut album results in the most delicate and delicious juxtapositions, as the unexplained and unexpected tangle together in the ear.

The search for hybrid structures begins with ‘Thear’. Through Stockhausen’s words Lucy hints at a manifesto: Whenever we hear sounds we are changed, no longer the same. The record is textured with riddling vocals –be it the slither of a UN summit speech to heard on ‘Eon’ or the wisps of Le Corbusier on ‘Gas’— and none are used with idle intent. Just as on ‘Eis’, where the samples appear to be engaged in discussion but the thread of their argument is lost in the granular synthesis, the tracks are abstracted enough to provoke your own interpretations and critical judgements. The vocals’ inclusion gives rise to questions, and the ambiguity of ‘Wordplay for Working Bees’ creates an architecture that facilitates debate.
It’s not just escapist or hedonistic dance music, but a concerted, dissonant effort to challenge the listener’s preconceptions. David Toop’s Sinister Resonances can certainly be heard.

This mood of provocation with no certain resolutions is a fitting description of ‘Es’. It’s a track with a long half life; it resonates, poised and pertinent. ‘Es’, the German for ‘it’, is an apt title for the indescribable mood where the ecstatic meets the melancholic. It’s hard to know what this ‘it’ is, but ‘Es’ transposes it perfectly.
Amid these ambient, dubby tracks it’s rare and also somehow exotic when the 4/4 techno of ‘Bein’ does emerge. Equally ‘Torul’, which sounds as if it samples the swinging of a meat hook, has the potential to be devastating on a big sound system. To close the record ‘Ter’, with its pattering percussive-line full of hypnotic persistence, is a stunning ending. It seems to be the sound of melting ballerinas.

As a body of work it’s cohesive and impressive, a result of Lucy’s process. With the release of the very first vinyl on Stroboscopic Artefacts he began laying down the inital sounds for the album. Over the label’s first year he worked across all eleven tracks. In a way the record charts the development of his sound and the
strengthening identity of his record label. It’s certainly not a portrait of the artist, it’s a landscape. Composed as it is of field recordings from parks, streets and Lucy’s apartment, it’s difficult not to see this as --at least in part-- a depiction of Berlin. ‘Wordplay for Working Bees’ is certainly influenced by the sounds coming from
Berlin’s clubs, galleries and forgotten pockets. Lucy holds a mirror up to the Hauptstadt, only to distort and redefine its reflection. The abstraction and processing of the album’s subject matter has a painterly quality and it’s evident that in creating ‘Wordplay for Working Bees’ Lucy slaved with technology to master it so brilliantly.

Co-mixed and mastered by Artefacts Mastering, Berlin.

Words: Clare Molloy

bein

I found this unreleased version of Plumbicon on a backup drive. Enjoy !

Plumbicon V.271205 01

Function-Descending-Original-Mix

(BP030.1) O/V/R - Post Traumatic Son [Blueprint]

Techno

FKSD