Terminal 313 Mix: Promos & Classics Vol. 4 (July 2015)

Tracklist:

Ilpo Numminen – Helsinki (Vuosi)
Inner8 – Ataraxia (Feat T.C.O.) (Undogmatisch)
Aci_Edits – 04 [04] (/\\Aught)
Hermans & Mr. Ho – Late Night Scuttla (Run Out Run)
Dungeon Acid – The Move (Point Chaud Remix) (Stockholm LTD)
Donato Dozzy & DJ Say – Your Eyes (Attic Music)
Array Access – Variation 2 (Eomac Remix) (Ressort Imprint)
Edit Select & Teste – Ascend (Edit Select Records)
Giorgio Moroder – Chase (Not On Label)
Hauntologists – Brooklyn (Hauntologists)
Polar Inertia – Floating Away Fire (Dement3d)
Exium – Magnetic Flux (PoleGroup)
Tracid Posse – Power Of Darkness (Overdrive)
Varg – Raggarsvin (Northern Electronics)
Løt.te – History of Discipline (The Bunker New York)
Surgeon – Returning to the Purity of Current (Tresor)
Elad Magdasi – Finger Trip (Matrixxman Remix) (Front Left Records)
Sleeparchive – Window-057 (Warm Up Recordings)
Amotik – Ek (AMOTIK)
Low Jack – Sweatpants Chick (In Paradisum)
Filter Feeder – One Good Hit (Teder Music)
Dasha Rush – Lumière Avant Midi (Raster-Noton)

Ten summer tracks

Lifeforms

Photo from D.2000 mag (1997)

This post is not about Ibiza beach parties and hardstyle DJs rocking the stadiums. Just a random selection that could be taged ‘summer techno/house’ in my view, take it or leave it.

Sequential – “Prophet” (Pod Communication)
Landmark trance track by Sequential, a project by Pete Namlook and Christian Thier from the beginning of the 1990s. The real bliss starts at 3:50.

 

Andreas Dorau – “Girls In Love, Grungerman Mix I” (Ladomat 2000)
Andreas Dorau, a German NDW and pop wonder, getting his 1997 hit remixed by Wolfgang Voigt.

 

Ajukaja – “Ahiwo Ahiwo” (Porridge Bullet)
After “Benga Benga”, another slab of hot African edits on Porridge Bullet.

 

Array Access – “Variation 2 Eomac Remix” (Ressort Imprint)
Eomac remixes are a sure bet, also on this Ressort Imprint release.

 

Age Of Love – “Age Of Love” (Diki Records)
Either you know or you don’t.

 

UR – “Midnight Sunshine” (Underground Resistance)
One my favourite tracks from the UR’s “Dark Energy” LP.

 

Matti Turunen – “Elokuu” (Muhk Music)
Reminds that August is about to start.

 

Moodymann – “U Can Dance If U Want 2″ (KDJ)
Kenny Dixon Jr. vintage at its best.

 

Drexciya – “Black Sea” (Warp Records)
From the depths of warm waters.

 

Ilsa Gold – “Silke” (Mainframe)
Damn, why is it here?

Inner8 – Inner8 (Undogmatisch UNDLP01 – 2015)

Front_Und001An ambitious new beginning for Dadub’s Daniele Antezza, properly launching the Inner8 alias with a twelve-track opus on the new label Undogmatisch. A Berliner since 2009, Antezza belongs to the city’s ever-growing community of Italian electronic artists and Dadub, his project with Giovanni Conti, has been one of the main pillars of Stroboscopic Artefacts.

In my view, the said duo has been standing for deeper, dubbed out sounds with a portion of clicks and cuts and it is not surprising that Antezza’s solo effort keeps distance to the four-to-the-floor action. In the same breath with Inner8, you may mention Edanticonf, Mogano, Drøp and many other fellow artists exploring the foggy side of electronics.

Antezza’s aim is to approach the production from a sound engineering point of view and to juxtapose with commonplace architecture of today’s electronic music, a quite challenging task in which he succeeds on several occasions.

The inclusion of thinly built ambient etudes (“Eudaemonia”, “Disambient”, “Moto Asintotico”) is very expected, as are the genuine dub techno cuts “Exploitation” and “The Paradox Of Authority”. From a different angle come ethnic influences, like Oriental voices and laborious drums in “Daimon Anthem” and even more in two parts of “The Irony Of Karma”, both driven by tinny percussion and mutilated loops known from Nation Records (e.g. Transglobal Underground, Recycler).

In “Violence”, Slavoj Žižek makes an unintended guest appearance and black leather needs to be worn for “Praxis”, which is a fast-paced stepper with industrial flavour. Especially in the digital format, the tracks closer to the end may get less attention, but here it would mean a grave mistake as Hypnotic “Ataraxia (feat T.C.O.)” is a real conqueror with resonated sequencing and spoken word in German.

Written by Antezza in 2013-2014, the album is also a collective effort with the album mastered at Dadub’s own Artefacts Studio and artists like Mirco Magnani, Ken Karter having been part of the process. If looking for a live experience, Inner8 will be among the artists performing at Krake Festival in Berlin in August.

Points: 8 of 10

Buy vinyl / CD from Undogmatisch
Buy vinyl /CD from Ready Made
Buy vinyl / CD from Juno

Church Boy Lou – Weep (Dirt Tech Reck DTR06 – 2015)

20150717_094630As a designer and photographer, Robert O’Bryant aka Waajeed was affiliated with Detroit’s hip hop group Slum Village and then gradually became a producer himself. Waajeed’s first own label was The Bling 47 Group, followed by the launch of Dirt Tech Reck (initially Records) in 2013. Closely connected to the Detroit techno headquarters Submerge, the DTR imprint can look back to a number of releases between street credible beats and soulful house, to present now “Weep” by Church Boy Lou.

Waajeed’s new alias seems like an invitation to Sunday morning mess in the neighbourhood. The spiritual opener “Show Me” is a merry celebration of choir voices with organ and piano passages and while the EP is primarily about gospel house, it shows clear traces of soulful Detroit techno.

“Alright!” is a cheerful tune that contains a replay of “Going Back To My Roots” by Detroit soul artist Lamont Dozier. It also features the voice of a former Innerzone Orchestra member Paul Randolph, a bassist who released in the 1990s as L’Homme Van Renn for 430 West and has been part of countless projects since then. Warm chords of the title track “Weep” make to believe that freedom arrives after the misery and the last one is a stripped down bass and vocal version of “Alright!”, credited as Paulapella mix.

In addition to Waajeed, Timeline member Jon Dixon and Tim K on keyboards along with Ray 7 on percussion contribute in this release of ample deep house.

Points: 8 of 10

Buy vinyl from Juno
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Buy vinyl from Dirt Tech Reck (US)

Sven Marquardt – Die Nacht ist Leben (Ullstein extra – 2014)

SMarquardt_buchThe gatekeeper orders to have patience of over two hundred pages. So long takes it, from the flashback how Frau Erblich, a classy photo model in her seventies, sadly lost her memory and afterwards never appeared in the photo shoots of Sven Marquardt, to the last chapter titled “How To Get Into Berghain”. Yes, thousands have asked the same question from the friends and taxi drivers, browsed the internet forums and eavesdropped the scene insiders for “How To …?”.

When no one else than Berlin’s photo artist Sven Marquardt, known as unpredictable and strict Head Bouncer of Berghain, gives an account of his life so far, the expectations of revealing the door secrets are high.

But before the entry, one needs to queue up and go through these two hundred pages of “Die Nacht ist Leben” (“The Night Is Life”), a book co-authored by Judka Strittmatter. The story is about Marquardt’s 50+ years from his childhood and youth in Eastern Berlin, that time the capital of the Eastern Germany (DDR), to the present days in a global metropolis. The book offers mostly a peek into the punk and gay scene, both seen by the DDR authorities as very despiseful phenomenons, and a testimony of Marquardt’s own artistic evolution as photographer.

Marquardt was among the very first DDR ‘celebrities’ in the West, because in the first free issue for the unified Germany, the Stern magazine depicted Marquardt sitting next to a Volkspolizei officer, in a photo shot by late Jörg Knöfel.

Having been a party animal since the 1980s, Marquardt’s arrival at the club door was not entirely a coincidence. Because his half-brother Oliver, known as DJ Jauche, invited him to try out the job and so it started, through illegal one-time parties, Suicide Club and Snax, up to the notorious Berghain.

Which reminds about The question. Marquardt underscores that at the door they work as a team, although the final nein! or yes! is given by him. And they do send people off, because “we are not Mother Teresas”. The crew expects that the people getting in do not cause any trouble and will fit into the atmosphere, and, take it or leave it, the verdict comes by appearance. “And for me it will be also fine to have a lawyer from Charlottenburg, wearing double-breasted suit and coming with a Gucci-Prada lady. If they both make a good impression to me, just get in”, admits Marquardt.

A lot can happen during the people’s night out and the same applies for queuing up at Berghain. Luckily, it is not the only club in Berlin, making it easier to digest a turn-down.

Buy the book (in German)

Acronym – June (Northern Electronics NE21 – 2015)

Acronym_'June'_digi_artwork

In the areas closer to the Arctic Circle, the month of June is full of suggestive stories – after wintery darkness being defeated, breath-taking white nights proclaim the Summer Solstice. When the nature is in full blossom, even rain and winds do not spoil the magic. Therefore June is something to cherish and Acronym is exactly doing that, with the help of sound-emitting machines.

For Acronym, “June” is the fourth release on Northern Electronics. Initially seen as Abdulla Rashim’s experimental side activity, the label has become an established outlet with a strong roster on Nordic artists. Sound wise it is located in the crossroads of tripping pagan rites for the floor, granular ambient and suffocating, blood-stained experimental tones, as often heard on the tape releases.

In “June”, Acronym has created a sonic journey made up of an uninterrupted narrative of nine individual tracks. The album’s first half is dedicated to the search of harmony in electronic music, a web of relaxation woven with occasional darker notes.

The chilly opener “Isolated From The Land” navigates on a subterranean river with the water dripping from the cave ceiling and equally placid “In The Swamp” is only distracted by a semi-acidic modulation. Perpetual keyboard theme reigns in true-blue ambient esoterica “No Exit”, a bright and mysterious piece that is exploring Klaus Schulze’s trails in lunar dust. “Humid Zone” arrives in the aftermath of monsoon showers, the presence of percussive elements recalling Balinese gongs and bells.

The tranquil and more experimental phase comes to an end when “Centering” and “Realisation” take us to the tripping sector that promises waterproof club material. Less exciting than the album’s restrained part, it still offers madly pulsating electronic witchcraft in “Back To Understanding” or similar feelings thanks to the drum work of “The Eye”. However, the closing chapter “Letting Go Of It All” is a real culmination with atmospheric pads reminding of classic Eevo Lute tracks.

“June” is quite similar to Varg’s recent “Ursviken” on the same label, where rougher tracks follow to the ambient first part. However, if looking for more rumble, Varg is your thing.

Points: 8 of 10

Buy vinyl/digital from Bandcamp
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Never On Sunday – Day-By-Day (430 West ‎4W-165 – 2015)

20150621_125643The Burden brothers and 430 West are inseparable from the evolution of Detroit electronic music. This spring, they reanimated the main project Octave One with the group’s fifth album “Burn It Down” and have reissued a couple of classic EPs, including Never On Sunday’s “Day-By-Day”.

Never On Sunday (aka N.O.S.), a short-lived side project of Lenny, Lawrence and Lynell Burden, may not ring a bell for many because of only two EPs in the beginning of the 1990s. Apart from that, some individual tracks were released on compilations, like futuristic tech dreamer “Urban Rains” on 430 West’s excellent “Detroit Techno City”.

This particular track is an exception in the EP which expresses house moods with jazzy touches. It is music for feeling good, when taking the smoothness of the sax and piano combo in “Jackie’s Theme”, Lisa ‘I Believe’ Newberry’s sweet voice carrying “In The Breeze” or sensual treatment given in deep house cut “Seduced By Madness.

Reissues of real gems are a kind gesture, especially when a 300 copies run of the original hand-numbered, clear blue vinyl from 1992 has been trading for about 100 dollars.


Buy vinyl / digital from Juno
Buy vinyl from Clone

Mono Junk – FP-008 (Forbidden Planet FP008 – 2015)

fp008_mono_junkThe comeback story of an analog junkie continues. Everyone familiar with the 1990s techno knows how significant role Kimmo Rapatti and his DUM Records played and not only for the Finnish scene. Luckily we do not need past tense in telling this story because after several quiet years, Rapatti revived his Mono Junk alias and after two releases in 2014 keeps delivering.

Along with an EP for Skudge White, Mono Junk returned to the Canadian imprint Forbidden Planet to follow up last year’s EP, doing it in a most enjoyable way. Hedonistic horns of the opener “Prince Of The Night” sound like the classic “Beyond The Darkness” has been propelled to the Gigolo-curated electroclash world. Even juicier is the aptly titled “Suomen Moroderit Theme”, a lengthy cut flying in italo spheres and fuelled by polyester synth leads al Giorgio .

The B-side opens with a remix of “Channel B”, the original out in 1995 on Trope and then reissued in 2006 as a single-sided vinyl on Styrax Leaves. Co-produced by Roberto Bosco, it is a dub-dripping tribute to a certain Berlin-based label. In the final notes arrives the time to witness a waterfall of warm chords and excited synth passages in “Maaliskuu”. Another great one by Mono Junk.

Points: 9 of 10

Buy vinyl from Juno (UK)
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Mønic – Parsons Hill EP (Tresor Tresor.277 – 2015)

Monic“Parsons Hill” is a remarkable meet-up of two different clusters of electronic music when Simon Shreeve, the founder of Osiris Music, arrives on techno bastion Tresor. For years, Osiris has been an epitome of the dubstep and bass music and primarily known as home of Kryptic Minds, Shreeve’s main project so far. However, the UK label is getting hooked on techno, if to look at the recent output by Killawatt and Shreeve’s new alias Mønic.

In the Mønic’s new EP, the title track is the closest to proper 1990s club tools and follows Tresor’s dress code with banging Beltram drums. Certain dissonance created by shifted rhythms and odd background hum propels the track above the usual 4/4 fare. The B-side is a drop-dead serious affair with rigid bass and spooky drones. Industrial-tinged crawlers, of which “Morse” is hotter, would do damage on a Funktion One system, but do not defeat similar productions.

Points: 6 of 10

Buy vinyl from Juno (UK)
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Exium – Rotating Frames (POLEGROUP032 – 2015)

POLEGROUP032 ArtworkFor over 15 years, Valentín Corujo and Héctor Sandoval have pushed the hard-edged Iberian sound with their project Exium. For me, their story began with “Unemotional” on Sunn, a memorable techno EP from the last decade, and ever since they have been supplying tracks with strong floor appeal.

Frequent live and DJ sets and several EPs per year mean that Exium is a hard-working entity and it is not surprising to see three releases coming out this spring. Besides of Detroit Underground and Mord, an EP drops on Oscar Mulero’s home label PoleGroup. And the “Rotating Frames” is a serious big room takeover: Granular techno with tough loops serves the DJs who really want to see the people dance instead of hanging out at the bar.

The release is like riding a straight line on a highway. All four tracks rely on similar patterns and only gaseous substructures make the scrubbing “Monopoles” slightly different. “Magnetic Flux” and “Rotating Frames” are the ones that hit the jackpot here.

Immediate reaction could be that this type of techno is heard a million of times and this assumption is not totally wrong for “Rotating Frames” either. In a way it is a sediment of production techniques we have seen during the last two decades. However, the seasoned duo from Asturias knows a thing about stimulating grooves and the EP’s lifespan exceeds well the average of club fare.

Points: 8 of 10

Buy vinyl / digital from PoleGroup
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