About the concept:
Here is the fifth instalment of our series “abc plays xyz”.
The idea behind it is to ask some DJs/mixing artists if they have an artist or label in mind that they love and would like to use for a mix.
So the approach of each mix is clear: the choosen DJ/mixing artist makes a selection of tracks produced by one artist (and her/his monikers) or released on a label (and its sublabels) and creates a nice mix from it.
About Reject & Valerio:
Reject aka Irregular Subject from Melfi (Italy) is more than fifteen years in constant musical evolution. In his younger years his music journey leads him trough black metal, death metal, gothic and metal trash to techno music.
These influences will be used to approach to electronic music in a dark shape. You can hear a dark and straight sound in his vinyl only DJ sets passing though techno, detroit techno and old school techno.
Valerio worked these years on his production and mix skills next to Reject. After collecting Hip Hop and Rap vinyls for many years, his music way was straight lead to his techno passion.
In his DJ sets you can hear raw ranging sounds from industrial to techno.
Both artists complement each other with their different influences. The production of Reject & Valerio promise pure techno going forward.
About Arts:
ＡＲＴＳ is an independent record label on 12″ established in 2013 based on Sonic dimensions. From the mind of Emmanuel.There are 4 Platforms (12″ Format, and Digital), Arts Ltd, Arts Collective, Arts Transparent and Arts Digital Series as well.
“Pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the art and cultural realm.”
Reject & Valerio About Their Choice:
We choose to play Arts because we like the constant evolution of sound of the label and the continuous search of nuances about the techno music.
Tracklist:
01. Roberto – Dreams of a Solo
02. Keith Carnal – Sword Play (Shlõmo Remix)
03. Cleric – Equinox
04. Keith Carnal – Indemnify
05. Emmanuel – Entroterra
06. Subjected – Thtswhtwnt
07. Dax J – Escape The System
08. Emmanuel – Installations
09. Subjected – King Behemoth
10. Judas – Disgrace IV
11. Dax J – The 5th Dimension (Echoplex Soleil Remix)
12. Roman Poncet – Afterglow (Psyk Remix)
13. I Hate Models – Daydream
14. Dax J – Skynet
15. Dax J – Apocalypse
Press Info (English):
Where to start besides pointing out that Fiedel’s debut solo release on Ostgut Ton has been long in the coming, and that it’s a glorious one at the same time. The Berlin-Brandenburg native was there when the wall came down, started DJing in the 1990s at Subversiv, began producing with Errorsmith as MMM in 1996, held a residency at OstGut from 2000 on, continued doing so at Berghain since 2004, runs his own labels Fiedelone and Fiedeltwo, used to work at Hard Wax record store and is a mainstay at Wax Treatment and Killasan Soundsystem.
The old hand of Berlin’s Techno scene now presents himself fresh and in top form with his first full-length O-TON record, following up on his already intense contributions to our compilations Fünf (2010), Various (2013) and Ostgut Ton | Zehn (2015) with an even stronger three-tracker. Fiedel’s production style breathes the spirit from the early days of Techno music: blending genres and techniques, not focussing on a narrow musical narrative, combining Techno, Acid, Electro, Jungle, Boogie, Dub music and Broken Beats. Substance B is the logical consequence of being an avid vinyl-focussed DJ, experienced producer and a meticulous sound engineer: a compelling sound for a modern age.
The eponymous “Substance B” (on A) starts with a clear statement: play this out in a big, dark room, focus on the subs and tear off the roof while you’re at it. Departing from a clear idea which path to follow in the studio Fiedel constructed this high-energy, raving Techno belter around a doubled, heavy, bouncy bassline motif, with additional percussion and bubbling Acid lines slowly swelling until a jacking melody kicks in. Old school hasn’t felt so fresh and current for a long time.
“Track 432” on B1 evolved and assumed shape based on a phone-recorded sketch – a technique Fiedel enjoys to use now and then to pin down ideas on the go. Sonically we’re at the exact opposite end though: melody-wise this 7-minute lush, deep yet functional cut is reminiscent of shrill sirens, soon intertwined with cowbell jabs, all sitting atop a banging kickdrum and staccato-stabs from the drum machine. “S-Drive” closes this record on B2 with a tidied up and slower jam: its prancing, mesmerizing synth melody is the dominating element here, accompanied by a subtle kick and syncopated snare, hi-hat and other percussive components. Sounds best on wax.
Press Info (German):
Womit fangen wir an, abgesehen von der Erwähnung, dass Fiedels Debüt-Solo-Release auf Ostgut Ton lang auf sich hat warten lassen und dass es gleichermaßen prächtig gelungen ist? Der gebürtige Berlin-Brandenburger hat die Mauer fallen sehen, begann in den 1990ern im Subversiv aufzulegen, startete 1996 mit Errorsmith als MMM zu produzieren, war OstGut-Resident ab 2000, machte damit ab 2004 im Berghain nahtlos weiter, betreibt die eigenen Labels Fiedelone und Fiedeltwo, arbeitete im Hard Wax-Plattenladen und ist tragende Säule bei Wax Treatment und dem Killasan Soundsystem.
Das Urgestein von Berlins Technoszene präsentiert sich heute frisch und in Topform mit seiner ersten solo O-TON-Veröffentlichung, knüpft an seine intensiven Beiträge zu den Compilations Fünf (2010), Various (2013) und Ostgut Ton | Zehn (2015) mit einem noch stärkeren Drei-Tracker an. Fiedels Produktionsstil atmet den Geist der frühen Tage von Techno music, verbindet Genres und Techniken, konzentriert sich nicht nur auf eine enge musikalische Narrative, kombiniert Techno, Acid, Electro, Jungle, Boogie, Dubmusik und Broken Beats. Substance B ist die logische Konsequenz eines passionierten DJs mit Vinyl-Schwerpunkt, erfahrenen Produzenten und akribischen Tontechnikers: ein zwingender Klang für moderne Zeiten.
Das titelgebende „Substance B“ (auf A) beginnt mit einem klaren Statement: Spiel das in einem großen, dunklen Raum, achte auf die Tiefgründigkeit und reiß auch gleich das Dach ab. Ausgehend von einer klaren Idee, welchen Weg Fiedel mit diesem Stück im Studio verfolgen wollte, entstand dieser hochenergetische, ravige Techno-Kracher um ein gedoppeltes, schweres doch federndes Bassline-Motiv. Verstärkt um weitere Perkussion und blubbernde Acid-Lines schwillt es langsam an, bis eine jackende Melodie dazukommt. Old school fühlte sich lange nicht so frisch und gegenwärtig an.
„Track 432“ auf B1 entwickelt sich und nimmt Form an basierend auf einer mit dem Mobiltelefon aufgezeichneten Skizze – eine Technik, die Fiedel hier und da einsetzt, um Ideen unterwegs festzuhalten. Klanglich sind wir aber am komplett entgegengesetzten Spektrum: in Sachen Melodie erinnert dieses 7-minütige deepe aber funktionale Stück an schrille Sirenen, bald verwoben mit Glockenstössen über einer imposanten Kickdrum und stakkatohafter Drum Machine. “S-Drive” beschliesst die Platte auf B2 mit einem klar geschliffenen, ruhigeren Jam: eine tänzelnde, hypnotisierende Melodie entwickelt sich zum dominanten Element, gepaart mit dezenter Kick und begleitet von einer kreisenden Snare, Hi-Hat und weiter Perkussion. Am besten klingt das auf Vinyl.
Press Info:
Within old rituals music, both dancing and intoxicants embodied trance-inducing techniques, used to rid oneself of inhibitions and social constraints.
A sort of manumission that did not only set free one’s individuality, yet also allowed oneself to return to a natural and pure state.
Find yourself in the realm of SYNOID and indulge in different kinds of techno presented to you by carefully selected and geared to one another live acts and DJ’s.
A2. Empty Vision Vision I (Distant Echoes Version)
B1. Empty Vision Vision II
B2. Empty Vision Vision II (Chris Stanford Version)
B3. Empty Vision Vision III
Press Info:
Empty Vision provides the next pillar to the structure of Lanthan.audio and is the latest project of the italian-rooted Damiano Di Cagno. In addition he was able to convince Distant Echoes [Dystopian] and the well-known Chris Stanford to paraphrase his Visions.
Vision I gives an insight into a deep, abandoned space, reminds on a far away valley. Leaving it is accompanied by thundering spheres impressively.
Distant Echoes grasps this tension and turns it into a delightful and powerful interpretation which gives an affirmative spirit. Vision II goes ahead with a strong foundation pursued by congenial bizarre but memorable sounds that send you through the apparent infinity. Flattened with wide open spheres results here in a very solid dancefloor weapon.
Chris Stanford follows in similar manner, the foundations are well recognizable but he manages it to present the track in a different shape with putting his own stamp on it.
The last track – Vision III – slides us formally into our deepest core, before it opens in full beauty and rescues us from all vicious visions. It remembers us to the most important thing we are capable of giving, love, light and compassion.
