Little White Earbuds

Little White Earbuds January Charts 2012

2012-02-03T18:10:51Z

01. Helium Robots, “Jarza”
[Running Back] (buy)
Like Dissident, the label they first appeared on, Helium Robots seemed to burn bright and fast, falling silent after two tracks in 2008 for Andy Blake’s since completed imprint. Then in late 2011, the UK-based duo of Ewan Willmott and Lydia Jones showed their first flicker of life in nearly four years by remixing Lana Del Rey, of all people. Helium Robots appear at full power on the Jarza EP for Running Back, delivering two timeless originals that come backed by two less than inspiring Theo Parrish remixes. The title track certainly earns the honor by coaxing a memorable and entirely danceable tune from deliberately 80s’ sounding synths and organs. Arms aloft, “Jarza” wiggles between Italo, house and synth pop, undeniably colorful but tasteful as well, earning its space in your memory with songwriting rather than cheese. The EP is complimentary to the work of another recent Running Back signing, Phillip Lauer — a flattering comparison to say the least. While Helium Robots’ SoundCloud indicates they’ll be working with another label on a forthcoming album, one has to admire Gerd Janson as one of dance music’s finest tune trufflehounds for sniffing out this one.

02. Anstam, “Statical”
[50 Weapons] (buy)
January’s charts are especially hard to select because they represent both this past month and all the music we caught up on since last time we charted. One album I particularly I wish I would have heard during 2011 was Anstam’s Dance Dispels, a confident and thrillingly novel take on bass music and techno. “Statical” is not its biggest track, but it encapsulates Anstam’s approach in a polished, multi-faceted three minutes. Gaseous pads cling to earth being pounded by rotund percussion, as if the landing gear from a spacecraft was unfolding. It’s a terrain coated in sumptuous sub-bass, a field full of delicate piano leads swaying in the breeze. Anstam’s final twist freezes this new world without warning, leaving an unsettling array of piano chords hanging in the air. At times Dance Dispels feels like Anstam lit his own torch from Shackleton’s black flame and begun an entirely different and equally arresting quest. We can only wonder where it will lead him next.

03. Kornél Kovács, “Down Since ’92″
[Studio Barnhus] (buy)
It feels fitting to choose this track from one of Studio Barnhus’ founders, Kornel Kovacs, just as RA’s “Edit Etiquette” has published. There’s no way around it: “Down Since ’92″ is a clever edit of Sam Salter’s “Once My Shit (Always My Shit)” from 1999. Kovács places large chunks of the often forgotten R&B singer’s multi-tracked vocals in melting melodies being stirred by 90s hi-hats and Chicago-styled bass notes. Despite its origins, the tune is redolent of some of the 90s’ best house tracks by the way of MK’s unforgettable remixes. While he had a number of stellar originals as well, Marc Kinchen’s legacy was cemented by his deft rearranging of others’ raw material. Kovács is not quite operating at that caliber, but a track like “Down Since ’92″ bears its spirit and is all the more memorable for it.

04. Alex Jones, “Stamp!” (Dan Berkson’s Effortless House Remix) [Hypercolour] (buy)
Dan Berkson’s creative spirit seems renewed since he returned to releasing music in 2011 after a couple quiet years. Last year’s Anything For You for Crosstown Rebels immediately put him back on the map with its deep and muscular house sound, his Chicago heritage bleeding through into the drum programming and bass line. His last 2011 appearance was remixing Alex Jones’ “Stamp!” on Hypercolour, the imprint founded by Jones. Perhaps sarcastically entitled Dan Berkson’s “Effortless House Remix,” the track is undoubtedly the result of a serious time investment. It’s led by an animated bass line chased by sultry organ riffs and smooth pads, all in the clutches of tightly programmed drum patterns. If anything about it is effortless, it’s the way the remix unfolds its many petals while feeling anything but weighed down. Hopefully this burst of creativity carries Berkson through 2012.

05. Jubilee, “Les Clochards”
[Hidden Recordings] (buy)
Does a house track really need more than one memorable melody to work? This is the question posed by Jubilee’s “Les Clochards.” For his second release on New York’s Hidden Recordings, the Moroccan producer chose a particularly appealing if not all that complicated progression to wend its way through his marching, disco house percussion. There’s an undeniable easiness to the way its sensuous tones rise and falls, which gives its bare repetition over more dynamic drum arrangements just enough flavor to carry it off. The deep-in-the-tropics sounds which poke up their heads, as well as the extensive nine minute run-time are perhaps a bit much, yet the tracky structure affords “Les Clochards” the utility to work these elements into its surroundings. It appears Hidden Recordings is heading in the opposite direction of tracks like this and “Wolkenreise” in 2012, but its last transmission from 2011 affirms this sound is still within.

06. Wincent Kunth, “Relove (Edit)”
[Marcel Dettmann Records] (buy)
07. Pittsburgh Track Authority, “Untitled”
[Pittsburgh Tracks] (buy)
08. Ethyl & Flori, “Shelter”
[Secretsundaze] (buy)
09. Robag Wruhme, “Donnerkuppel”
[Kompakt] (buy)
10. B.D.I., “Decoded Messages of Life & Love”
[Rush Hour Recordings] (buy)

Staff Charts

Per Bojsen-Moller
01. Actress, “Actress Meets Shangaan A” [Honest Jon's Records]
02. Orpheus, “Waiting For Your Call” [Sequencias]
03. The Citizen’s Band, “77 Reasons” [Live At Robert Johnson]
04. Floating Points, “Myrtle Avenue” [Eglo Records]
05. Xosar, “Rainy Day Juno Jam” (Legowelt Remix) [Rush Hour Recordings]
06. Todd Terje, “Inspector Norse” [Smalltown Supersound]
07. Minilogue, “Let Life Dance Through You” [Traum Schallplatten]
08. Yør, “Rave” [Purple Maze]
09. Patrice Scott, “3AM” [Sistrum Recordings]
10. Taron Trekka, “Warubian Ghost” [Freude Am Tanzen]

Chris Burkhalter
01. Efdemin, “Nighttrain” Fred P Reshape [Dial]
02. Mike Huckaby, “Baseline 87′” [Sushitech]
03. Falke, “Flying” [Kann Records]
04. Coki, “Celestial Dub” [DMZ]
05. DVS1, “Submerge” [HUSH]
06. Junior Boys, “You’ll Improve Me” (Dem 2 Remix) [Domino]
07. Maria Minerva, “Gloria” [100% Silk]
08. Chicago Skyway, “London Streets” [Uzuri]
09. Xosar, “Rainy Day Juno Jam” [Rush Hour Recordings]
10. Yør, “Rave” [Purple Maze]

Nick Connellan
01. Oskar Offermann, “Drive Me Home Please” [White]
02. Rivet, “Sleepwalker” [Kontra-Musik]
03. Vince Watson, “Sequential” [Bio Music]
04. Shed, “The Praetorian” [50 Weapons]
05. Rivet, “Metrist” (Marcel Fengler Redefinition) [Kontra-Musik]
06. Floating Points, “ARP3″ [Eglo Records]
07. Conforce, “When It Appeared” [Ann Aimee]
08. Todd Terje, “Myggsommer” [Smalltown Supersound]
09. Claro Intelecto, “Second Blood” [Delsin]
10. Cuthead, “Heartless” [Uncanny Valley]

Steve Kerr
01. Voices From The Lake, “S.T.” (VFTL Rework) [Prologue]
02. Claro Intelecto, “Heart” [Delsin]
03. Mark Van Hoen, “Holy Me” [Editions Mego]
04. Madteo, “Bugler Gold Pt. 1″ [Hinge Finger]
05. Vazz, “Cast Reflections” [Forced Nostalgia]
06. Inc., “Heart Crimes” [4AD]
07. Unknown artist, “Frankfurt Session 1″ [Sex Tags Mania]
08. Kplr, “16.5.5.2″ [Crazy Iris]
09. Julia Holter, “Boy In The Moon” [Rvng Intl.]
10. Todd Terje, “Inspector Norse” [Smalltown Supersound]

Kuri Kondrak
01. Equation, “I’ll Say A Prayer 4 U” [Rush Hour Recordings]
02. Rüf Dug, “See” [Rüf Kutz]
03. Juju & Jordash, “African Flower” (Cosmic Dub) [Dekmantel]
04. I:Cube, “Hnt” [Les Edits Du Golem]
05. Raiders Of The Lost Arp, “On And On” [Petite]
06. The Oliverwho Factory, “Together” (Altered States Mix) [Bosconi Records]
07. Ka§par, “Able To Find” (CARLOS NILMMNS Glasgow Tangent Mix) [Groovement]
08. Xosar, “Rainy Day Juno Jam” (Legowelt Remix) [Rush Hour Recordings]
09. Steve Summers, “Beyond The Night” [Construction Paper]
10. Pittsburgh Track Authority, “Untitled” [Pittsburgh Tracks]

Chris Miller
01. Demdike Stare, “Kommunion” [Modern Love]
02. Nuel, “Mentalism” [Further Records]
03. Silent Servant, “Mad Youth” [Sandwell Disctrict]
04. Scuba, “Ignition Key” [Hotflush Recordings]
05. Floating Points, “Myrtle Avenue” [Eglo]
06. Pinch, “Retribution” [Swamp81]
07. Claro Intelecto, “Second Blood” [Delsin]
08. A Made Up Sound, “Take The Plunge” [A Made Up Sound]
09. DVS1, “Evolve” [Hush]
10. Objekt, “Cactus” [Hessle Audio]

Ka§par, Ode To The Ancients EP

2012-02-03T15:46:58Z

Penique Productions

[Groovement]

In an interview from 2010, Ka§par referred to his music as “out of the norm” and cited his Portuguese residence as a contributing factor that kept him from breaking through. In this day and age, geographic location plays less of a role in deciding artist viability than the former. Ka§par’s style is nominally house, but walks an interesting and perhaps paradoxical line of jazzy chords and shuffling percussion with club-friendly effects and occasionally vocal driven. His recent Ode To The Ancients EP stays close to that course but offers some intriguing bypasses, as well.

The title track is highlighted by a moody chord progression, vocal calls that sound like bird squawks, and dense, clattering percussion before a spacey breakdown and rebuild occurs. It feels familiar, but the percussive intricacies and a wobbly bass set it apart. On “Twin Sparkle,” Ka§par provides a more utilitarian track, using an analog bass line reminiscent of early Chicago house, seesawing hi-hats, and melisma-like vocals from himself. The lead synth melody and the vocal usage are memorable but the stabs and derivative bass don’t do it any favors. “Able To Find,” on the flip, evokes an altogether different vibe, incorporating a stuttered, syncopated rhythm, syrupy Rhodes and a whistling synth melody. Promo descriptions have referred to it as “post-dubstep,” but with a soulful vocal it bears greater resemblance to earlier broken beat styling. Ross McMillan, working as Carlos Nilmmns, delivers a remix of “Able To Find” which lands in a luscious deep house grotto. He heavily processes the vocal until it sounds like slurred alien speak, adds spacey atmospherics and employs a sluggish rhythm that moves from raw, minimal percussion to a clattering hi-hat and snare boogie. It’s the layered piano lines brought in during the breakdown, however, that raise this remix to great heights. It’s a short segment late in the track, but the jazzy soloing demands attention and stays rooted in your head long afterward. The Ode To The Ancients EP seems to prove that Ka§par’s strongest tracks are those which buck convention.

Porter Ricks, Biokinetics

2012-02-02T16:22:38Z

[Type Records]

Up on techno’s Mount Olympus sits Chain Reaction, content in the fact that few techno labels have ever been quite so revered. Where Basic Channel invented and perfected a sound, they drafted a team of like-minded cohorts to expand that sound, and records such as Vladislav Delay’s Multila and Vainqueur’s Elevation have few equals. Unfortunately, some of this stuff remains rather difficult to find (unlike Ernestus and von Oswald’s own work), and the task of reissuing it has been left to other institutions. Enter Type Records, a label that has consistently wandered the outskirts of techno without getting its proverbial feet wet. Their first “proper” techno record comes in the form of a reissue of Biokinetics, the fabled work of Porter Ricks (Thomas Köner and Andy Mellwig) and Chain Reaction’s first CD release. Like pretty much all of the CDs on Chain Reaction, this was mostly a collection of previously released 12″s, but the label and its artists had such a consistent sound that the CDs often flowed like proper albums.

As far as how the album sounds sonically, all the usual touchstones are represented: the steady thump, thump, thump of the kick cutting through leagues of hazy materials, the glacial pace at which those elements evolve, the extended runtimes. Dub techno has always seemed to have a very terrestrial, elemental quality to it, and these tracks reflect that in spades, especially given the explicit nautical references in the titles. “Port Gentil” and “Port of Call” are exemplary pieces of techno regardless of genre, but for those well versed in this scene’s history, the album contains few surprises. The notable exception, and clear highlight of the album, is “Biokinetics 2,” a cavernous, engrossing piece of music that has much more to do with Köner’s trilogy of dark drone works (also reissued by Type) than anything else on the album’s two pieces of wax.

The Nuba “suite” of tracks is the other standout moment, clicking away with mauled rhythms that have seemingly very little respect for the 4/4 kick’s sense of time. Everything here is immaculately produced and results in a deeply satisfying listen, but it’s a little difficult to shake the feeling of déjà vu. Biokinetics is very clearly a landmark piece of music that should be tracked down and purchased without hesitation, but the heads who have long deified this stuff will find there’s not a whole lot new to discover. How exciting (or not) a reissue is tends to come down to one’s familiarity with the scene that it came from, and given that the Basic Channel/Chain Reaction family is a permanent member of techno’s canon, I can imagine lots of Porter Ricks virgins enjoying the hell out of Biokinetics, but not necessarily having their minds blown.

Guido, Micro X

2012-01-28T18:18:39Z

[State Of Joy]

Entering underground consciousness as one third of the much-hyped “purple trinity” (alongside Joker and Gemmy) that broke through the Bristol underground in 2008, Guido makes quirky and idiosyncratic dubstep, imbued with eccentricity and a keen ear for melodic progression. His 2010 debut LP on Punch Drunk, Anidea, was a richly satisfying record that scaled the emergent hinterland between dubstep and R&B, adding a bounty of vibrant color to a scene where grayscale can sometimes proliferate. But while a wearying host of producers now appropriate R&B — chopping and splicing 90s diva vocals ad infinitum — Guido’s music is largely free of such hackneyed devices, relying instead upon virtuoso synth work. On this first 12″ for his new State of Joy imprint he offers two slightly more subdued cuts, refining his exuberant melodic kinks with a newfound slickness.

“Micro X” kicks off with a Middle Eastern-flavored rising arpeggio and queasy bass that is joined by a heavily processed guitar lick. And while previous work has displayed a slightly lo-fi aesthetic in terms of mixdown, this is highly polished work, with each element sitting pretty amongst impressive detailing. Fans of vintage Italo disco and 80s soundtracks will certainly be enamored with the perfectly rendered vintage drum sounds used in the track’s later stages. By proxy, “Vessel Dogs” is an even more relaxed proposition. The samples used include dusty wah-wah funk guitar and a lilting harp that sits tightly against a classic half step beat, nudging the track along with an understated poise. Perhaps what stands out most about this release, however, is that Guido manages to use elements which in lesser hands would be rather overwhelming — harsh synth leads, wobble bass — and meld them into something both beguiling and compulsive. A very strong release from one of the best-kept secrets in the bass spectrum.

LWE Interviews Lawrence

2012-02-02T16:11:36Z

Peter Kersten first tried his hand at producing in 2000, releasing his first ever effort on Dial, the label he had just set up with friends Carsten Jost and Paul Kominek (Turner). His melancholic, measured brand of house and techno has been consistent in its quality for more than ten years, thirty singles, five full length albums and around fifty remixes. In the realm of electronic music, maintaining such a consistency of quality is rare; having your first releases sound remarkably undated over this length of time is almost unheard of, yet this rings true for Kersten’s music. With Lawrence as his most well-known moniker — dedicated to his deeper musical expressions — he uses the handle Sten for his dance floor oriented material. Over the years, Dial has seen a remarkable run of releases from kindred artists like Efdemin, John Roberts, Pigon, Pantha Du Prince, Roman Flügel and many more. Its off-shoot label, Laid, has since 2009 done similarly well on a deep house tip, with memorable releases by Rick Wade, Kassem Mosse, Smallpeople and RNDM. In 2006, Kersten, along with a few close friends set up the record store and physical label Smallville Records. The friendly vibes and family feel of the store also extends to the regular parties they throw and of course the music that the label releases. Little White Earbuds got in touch with Kersten to talk about the longevity of Dial, which producers are exciting him right now and the forthcoming projects for his various enterprises.

You’ve been releasing music for over 10 years now. One thing that has always struck me about your productions is that right from the start you’ve had a very polished sound. How do you feel your own productions have changed or evolved over the years?

Writing music for me is a very spontaneous issue. For over a decade I have been digging a lot of styles — house music, techno, ambient, hip-hop — from my very first album to my latest CD, Until Then, Goodbye on Mule Electronic. I don’t see any straight line of changes, but I am still hungry for trying out any sound that fits. The new release on Koze’s Pampa imprint was quite an adventure, as well as my latest project, an experimental jazz band with Christian Naujoks and Richard von der Schulenburg.

Likewise there is a strong aesthetic running through the artwork that accompanies your albums and single releases, which has remained consistent in theme and style. Do you work closely with the people who are responsible for the artwork?

Yes, there is a close relationship to almost all artists who are responsible for the artworks of our labels. One of my very best friends, Stefan Marx, has done all the covers for Smallville and Mule Electronic. He even released his own “record,” a gatefold cover including three gorgeous posters. Our graphic designers Christian Doering for Laid and mainly Till Sperrle for Dial Records are doing an extraordinary, wonderful job, as well as all the artists contributing their amazing pieces. After running Dial Records for more than 10 years, we just started running an art gallery in Berlin called Mathew.

Dial has also remained a by-word for quality in the world of deep techno. What has been your approach to the running of the label in terms of keeping it moving forward yet retaining its consistent high quality?

What holds the Dial family together is the never-ending openness and curiosity for any kind of music. The musicians appearing on our little eccentric label are into so many music styles, whether it is contemporary classic, Norwegian black metal, or sine wave drones. Listening to African mbira music or some old Folkways records at Phillip Sollmann’s place, for example, is part of our influences for making dance music too.

With vinyl becoming more and more rare and less of a tradable commodity, can you tell us the reasons behind setting up the Smallville store?

Exactly when selling vinyl turned out being only a business struggle, including dumping prices on the Internet and discussions about downloads, Julius Steinhoff, Stella Plazonja, Just von Ahlefeld, and myself hardly missed the main points of running a record store: having nice selected music, a great interior setup, lovely people meeting in a cozy atmosphere. Finances are not our thing, but still its working quite well with doing the Smallville parties and printing Stefan Marx t-shirts, et cetera.

And how about the label? What is the mission of the label and how does it differ from Dial and Laid?

Smallville is a straight, deep, club label with focus on friends being part of it. Laid is a house music label too, including contributions by some heroes we love.

Have you had any formal musical training or are you self taught?

I am 98% self taught, I would say. Or let’s say I don’t know much theoretically about production — it still is a very intuitive process.

How long were you experimenting with production before you started making things you were happy enough with to release?

My first try ever was also my first released track, “Shoes,” appearing on Dial-00.

Since you started releasing have there been any major changes to your studio setup that have changed the way you make music?

Oh yes, I started only playing some samples on an E-mu E64 and Kurzweil [K]2000 using Cubase. For quite a while I am using mostly Logic Audio but the really important part of my studio is some selection of vintage acoustic instruments, including a steel drum and an old Deagan vibraphone.

In terms of your album releases, how much planning goes into your albums? Are they thought out with material written around certain themes or ideas, or are they more just a collection of tracks?

There is never any kind of master plan. When I finish a single track or an album I never see an approach regarding the beginning or a straight process. But surely the feeling behind it creates a whole piece of art, not just a collection of tracks. The same goes with my first mix CD, Timeless, on Cocoon — it was quite a long process to collect the tracks and to let them grow together.

Is there non-electronic or non-dance related music that you listen to that influences your own productions?

All the time I am listening to non-electronic or non-dance related music all the time. Schubert, Scelsi, Linda Perhacs, Jeremy Jay, Ariel Pink, Robert Wyatt — a never-ending list of music — that’s my life!

Apart from the remix of the Lawrence track “Never As Always,” it’s been a few years since we’ve heard anything from your Sten alias. Do you have any Sten material you’re working on at the moment, or is your focus on Lawrence?

The focus is on Lawrence at the moment — quite influenced by Sten though.

Your latest release has come out on Pampa. Did you make the tracks specifically for the label, or did you already have them completed? Are you interested in working with the label again in the future?

“Kurama” was intended to be the very first track of my next album. But then at one of the very sweetest festivals ever — the Smallville Open Air in August 2011 — I played back to back with DJ Koze, and he fell in love with that number. He constantly tried to convince me to have it as a Pampa single. If there isn’t any new album by Lawrence this year, it’s because of Koze. But I love him; I would even give him my last pants.

Speaking of labels, what have been some of your favorite labels in the past while apart from your own ones?

Workshop has been a top label for between-the-chairs dance music, I love all the releases here. The Kann guys from Leipzig are my favorites when it comes to cozy house music. Live At Robert Johnson, Underground Quality, Pampa, Aesthetic Audio, It’s, Sistrum — a lot of great stuff is recently coming out. I cannot believe that I am digging electronic dance music for over 20 years now and it never gets boring.

And are there any newer artists you’ve discovered lately who you’re really enjoying?

Richard von der Schulenburg, aka RVDS, is not just my favorite DJ ever — he is an excellent producer playing the keys of deepness all night and day. The Juniper boys from Manchester are the shooting stars of today. Kyle Hall is one of the most exciting newsters — wicked stuff. And Smallpeople, Moomin, Christopher Rau — the Smallville’s magic releases are getting me all the time. And watch out Kassian Troyer!

What can we expect from you over the next year across the board, from Lawrence to Sten and with Dial, Laid, and Smallville?

A Lawrence remix for my friend Superpitcher should be coming out soon. As I am still not deep enough into production for my next album, I’ll be finishing a new Dial 12″ soon. The Smallpeople will be releasing their first vinyl album this year, and I just can’t wait for it — it’s gonna be wonderful! On Dial we will leave the dance floor for some new albums by Christian Naujoks, Phantom Ghost, and a new project by Stephan Abry and Pantha Du Prince called Ursprung. The year will be started by 12″s from Kassian Troyer on Dial and a various artists single on Laid featuring Palisade (aka Redshape), Moomin, and RNDM. What a happy new year!

Vince Watson, Interference EP

2012-01-31T15:18:55Z

[Tresor]

If you read past interviews with Vince Watson, there’s an easily identifiable trend. Time and time again, the Scotsman turns away from being associated with Detroit. “But I’m not from there, I’m from Glasgow,” he says (or words to that effect). To Watson — a man who takes inspiration from many places — it seems an incongruous connection. It’s not, of course. For the past decade or more he’s been releasing music with a heavy debt to the city. His most recent 12″ even sported a remix from Rolando. Can you blame him for wanting to break away, though? While the city itself is still churning out new talent, its prototypical forms of techno have long ceased to be innovative. Just as dubstep’s originators are shedding genre tags to dodge association with the overground, perhaps Watson is wary of his music being labeled derivative — or worse, dismissed out-of-hand in favor of something more cutting-edge. Either outcome would be a grievous injustice; there are few producers who can top Watson’s double-pronged talent: genuine musicality and spotless sound design.

In “Interference,” an arpeggiated synth line jumps and writhes, imparting a rather tense feeling. It’s like an already-taut wire being alternately yanked from each end. This feel is heightened by siren-like but tasteful sounds (if there is such a thing), which regularly build to cacophonous peaks before fading out long and slow. It’s also better than it sounds on paper. “The Secret” is more jubilant, spread liberally with brightly hued plucks and noodly wind instrumentation. Complex as they may be, these motifs have an energetic, cartwheeling feel that lends them to rhythm as much as anything else — a classic Detroit trope. Less conventionally, Eastern-sounding scales and percussion move slowly into prominence throughout the duration, culminating in a beatless final minute. It’s a gorgeous finale; but if that wasn’t enough, “The Secret” (Melody) offers nearly four minutes of this serene orchestra, sans the original’s beats and impelling plucks. That all three tracks are conceptually plain doesn’t matter. Vince Watson’s music is like a good tailored suit: there’s nothing innovative about its design, but its incredibly refined finish allows it to stand alongside flashier, more avant-garde creations with ease.

Julius Steinhoff/Oskar Offermann, Faces #6

2012-02-01T15:40:39Z

[White]

Julius Steinhoff and Oskar Offermann sharing a 12″. Not much of surprise, is it? Based in Hamburg and Berlin, respectively, the artists have many ties. Last year, for instance, Offermann remixed Moomin’s “Sweet Sweet” for Steinhoff’s Smallville imprint. And to state the obvious, the pair’s individual styles are highly complimentary, too. Both have a propensity for sleek, basics-are-best house. In saying that, Offermann’s cut — found on the B-side of Faces #6 — may be the most extravagant he’s released yet.

Stretching out for nine glorious minutes and driven by a palpitating low end, “Drive Me Home Please” is best described as “epic,” a particularly appropriate tag given Offermann’s structure: the first half of the track devoted to 80s-style synth stabs and the second to something else entirely. The two portions are woven together via an electronic flute breakdown, one which culminates in complete silence. Listening blind, the reaction could easily be, “Nice track, nice ending.” Then it all starts again. First, the chugging, funky bass returns, followed by the 808 percs. It’s not until six minutes in, however, that steel drums and singing strings miraculously enter, uplifting the track to its joyous apex. If “Here’s Your Trance, Now Dance!!” and “Coma Cat” got down and dirty, this meeker offspring would be the result. That is to say, a track which clubbers, DJs and the whole world will have loved to death in several months’ time.

It’s no easy task to stand alongside such an obvious anthem, but Steinhoff holds his own comfortably. What’s astounding is that he does so with such a comparatively modest cut, “Up Above” being the kind of understated thing people would have expected to find on both sides of the record. Its main talking point is a simple vocal sample, which in the hands of a poorer producer, might have been construed as a token shot at injecting “soul.” Not so here. Apart from the sample’s sparing placement, the deliberate melodic “answers” that follow reveal a more genuine streak. With a plush analog bass sequence dominating the proceedings, it feels like a more jacking version of Dionne’s “Back on the Planet.” It may only be the first month of 2012, but it seems certain that come December, Faces #6 will be an object of fond reminiscence for list-makers. If it hasn’t been loved to death, that is.

Shifted, Telic

2012-01-31T15:18:46Z

[Our Circula Sound]

As Shifted matures, his techno flows more fluidly and luxuriously: it doesn’t take an expert to tell there’s a difference between his booming remix of Furesshu’s “Lucid” on Project Squared and last year’s smoother “Reach” on Syndrome Z. Fellow UK techno producer Sigha opens up his Our Circula Sound imprint for its first non-Sigha release, and Shifted provides his most expansive, thoughtful tracks yet for the fledgling label. If Shifted’s early work brought to mind the most polarizing ends of the early Ostgut Ton catalog, then his newest courses in foreboding ripples like the best of Sandwell District.

“Telic” is one of those effortlessly velvety techno tracks, where the cognitive dissonance between elements moving at different speeds turns the entire thing into a pleasant smear of motion: even the relatively abrasive chords that pop up halfway through get lost in the blur. A little less reliant on atmospherics, “Solus” is more the pitch-black kind of techno we’re used to from Shifted, subtly building tiny additions to its framework as drones whir in the background: it’s the particulate, bubbling counterpart to the silky tapestry of “Telic.” The EP is rounded off with two minutes of fascinating ambience, the deeply throbbing drone of “Image//Channel” like some sub-aquatic vision of Blackest Ever Black stuck on the ocean floor. Like the two more functional tracks here it paints Shifted more and more as a producer with potential for impeccable sound design; and if his 2012 is going to be as good as this EP, we might not have to treat him like a rookie much longer.

Pittsburgh Track Authority, Pittsburgh Tracks 001

2012-01-31T04:15:52Z

[Pittsburgh Tracks]

It was like Pittsburgh Track Authority sprung from the creative womb fully formed. The group — consisting of Preslav Lefterov, Tom Cox and Adam Ratana — debuted last year on Lerato’s esteemed Uzuri imprint, unveiling a full-bodied, multifaceted sound that had no trouble articulating its aims. Utilizing their intimate knowledge of techno and house archetypes as starting blocks rather than building blocks, PTA took off in their own direction and proved to be compelling composers with a considerable knack for arrangements. While also exhibited on their 2011 Archipelago 12″ for Further Records, it’s even more apparent on Pittsburgh Tracks 001, the inaugural release of the trio’s dedicated label, Pittsburgh Tracks.

It’s true PTA owe a considerable debt to classic American house and techno, but no more than any other producers in their current milieu. Where A-side “Untitled” is inspired by Underground Resistance and its cohort, the captivating track wears these influences lightly. Part of it is the narrative structure, which introduces and snatches away each element thoughtfully to keep listeners hooked. The smart pairing of a bleepy but pliable progression and a resolutely plucked bass line bobbing on gritty machine rhythms is what first catches your ear, yet it’s the swooping synth strings lifting “Untitled” to the next level. “Monongahela Rainforest” gives the appearance of being a fairly candid deep-house track, its legato electric piano chords wafting through the weave of hand drums. Their meditative flow is broken by syncopated claps and toms shoving you into the next bar, eventually cresting on tender strings and starstruck cowbells before plunging back into the rhythms. Immensely well written with the dance floor firmly in its sights, Pittsburgh Tracks 001 is a high watermark for a group who continues to generate them.

Curator’s Cuts 21: LWE Staff

2012-01-29T22:03:49Z

In a departure from the regular format of LWE’s Curator’s Cuts series, the 21st edition features some of LWE’s writing staff discussing five of electronic music’s prevailing trends in 2011, noting some of our favorite underrated tracks, and opining on what 2012 might have in store for us. Editor-in-chief, Steve Mizek, served as the moderator of a conversation between Per Bojsen-Moller, Steve Kerr, Chris Miller, Jordan Rothlein, and Andrew Ryce.

Curator’s Cuts 21: LWE Staff (67:34)