Few electronic labels or acts have an identity as well defined as raster-noton, and its co-founders Bytone (Olaf Bender) and alva noto (Carsten Nicolai). And I don’t just mean single cycle waveforms or quick bursts of noise, hard-edged projected high contrast geometries or digital aesthetics, though those associations will certainly spring to mind. Even as the label has expanded in its musical scope in recent years, it has retained a sense that aesthetics themselves matter, that its artist roster are capable of painting with sound and exposing the process of using technology. Understanding where that comes from visually is key …
Sorry. I’m terrible at writing headlines, actually. I’m also mostly terrible at writing reviews. So let me just say that if you haven’t heard Horse Lords, the Baltimore-based indie band, since their 2010 founding, you deserve to. And they make a great argument for why alternative tunings really do matter in music.
Can you whistle? Can you hum? Sing? Dance? Let’s assume for a moment that the problem isn’t your musicality, because you have something to express. The point of technology and music skill is really to express that inner musicality. For a beautiful demonstration of that, watch one guy roam the streets of Berlin’s Kreuzberg neighborhood with one piece of gear – and make an amazing song just from looping.
File under artists who inspire us: Lee Gamble is for us the embodiment of thoughtful, adventurous sound making. CDM’s Zuzana Friday talks to him about his latest project, UIQ – one that brings rich discourse and dimension to music. -Ed. You could say that Lee Gamble has a degree in making abstract music – using samples, snippets, and elements of styles ranging from jungle to techno. The master producer ‘sound wizard’ contributed to PAN Records’ discography with a number of releases combining his musical roots and sound phantasmagorias.
Richard Devine’s Vimeo account is something special. It’s certainly partly theater – there’s something entirely alien about seeing a nest of gear, tangled in cables and blinking, as if modules have achieved sentience and starting interconnecting themselves. But behind that facade of nerdy chaos is some real thought about how to make sounds by creating unexpected combinations of signal processors. It’s something I’ve been discussing with a lot of people lately – this interplay between stability and instability, automaton and entropy.
Tresor has left a rich legacy to electronic music – one that has defined a lot of what “techno” means – and not least of all through the Tresor Records imprint. So as follow up to our preview of the Tresor 25 festival, we’ve partnered with Beatport to share a set of 25 tracks that trace a small slice of that deep catalog. It includes some old classics, the younger generation carrying that torch, and gems like Objeckt’s terrific continuous mix Kern, Vol. 3 (with still more music, so… kind of more than 25 tracks, actually).
Berlin’s Tresor club turns 25 this year, celebrating with a four day festival next week. And the lineup is just completely and totally insane. If you took, say, the Thursday night program out of context, you might be excused for believing it was the headliners for an entire festival. The festival says as much about the healthy state of techno as it does about Tresor – but Tresor is without question one of the venues at the center of that world.
The Internet has seen obsolete disk drives play tunes from Star Wars before – but not like this. Hacker Paweł Zadrożniak of Poland has outdone himself with a maximalist rendition of John Williams’ iconic music. Just how big is it?
You know a classic Roland 202, 303, 404, 606, 707, 808, 909, and whatnot can make techno. But in the hands of Andreas Tilliander, these vintage Roland boxes are like classical instrumentation. They can form delicate ambient ensembles, or dark, pounding rhythms. And far from being only a grid to switch on and off, they become improvisational tools that spawn live performances and organic sessions. It’s little wonder that Andreas goes by the moniker TM404 – the Swedish-born producer seems like he might have been raised by a family of Roland boxes rather than humans. So, we took the opportunity …
We have the technology. We have the capability to play live sets on mainstages. And for a brilliant example of that, look no further than the frenetic, exquisitely hyperactive acid performances of Skinnerbox. Their set at Fusion Festival from this weekend demonstrates that you can command massive mobs of dance lovers outdoors with live sets, too. And maybe you thought such things were confined to chin-scratching handfuls of nerds.