In our interview with Rabih Beaini, the producer better known as Morphosis admitted that his debut album came together in only a few days. Listening to What Have We Learned and more specifically to this week’s download from it, “Kawn,” it’s difficult to believe something so immense could’ve taken shape so quickly. Yet seeing the album as the summation of all Beaini has learned and absorbed, you could say he was preparing for those few days his whole life. “Kawn” is exemplary of his approach: bristling with metallic percussion as braided synth lines navigate the way through bursts of noise and more elegant tones, it feels planned but not constrained, open to the whims of the machines and the people operating them. It’s dance music that’s better suited to a deep think in an arm chair than a sweaty shake on the dance floor. Our deepest thanks to Beaini and Delsin Records for making this track available.

Morphosis, “Kawn”

Juan Atkins has never seemed content to rest on his laurels as one of techno’s founding fathers. After laying the genre’s foundations in Detroit nearly 30 years ago, he’s continued to shape its development under a number of aliases and with a handful of groups; to this day the names Model 500 or Infiniti make techno fans’ eyes light up with reverence. He’s remained relatively prolific within the last decade or so as well, even when considerably more attention was being paid to his early work. But in 2010 the living legend made it clear he would no longer be defined by only his legacy, starting with a new Model 500 single for the recently renovated R&S Records. On February 15th he’ll add a new single under his own name to that campaign. “Dayshift,” this week’s download, is an exclusive first look at his Scion AV-released single which includes three originals and remixes by Terrence Dixon and Worthy. Sounding alien in much the same way tracks like “Clear” must have back in 1982, the tune is a disquieting blend of careening synth lines, otherworldly textures, and steadily popping percussion patterns. If Atkins’ newest doesn’t make your own day shift seem dramatic, you might be doing it wrong. Our deepest thanks to Mr. Atkins and Scion AV for the track.

Juan Atkins – Dayshift by ScionAV

Orchestral instrumentation is often an afterthought for techno producers, a bid to lend seriousness or respectability to club tracks. For the German trio Brandt Brauer Frick it was the initial idea that blossomed into what they describe as acoustic techno — music inspired by the rigorous arrangements of Steve Reich and the unexpected timbres in John Cage’s compositions. While they’ve done an admirable job executing this style on singles for The Gym and Tartelet, their forthcoming debut album, You Make Me Real is the larger canvas necessary to fully appreciate their aesthetic. One of the standouts of their !K7 LP, and this week’s exclusive download, is “R.W. John.” It’s an incredibly propulsive number whose fleeting array of organ notes, horn stabs and chiming piano chords hurtles by like a Robert Hood track crashing through a recital. Through it the trio offer proof that despite their classical associations, their tracks pack some serious heft. Our thanks to Brandt Brauer Frick and !K7 for letting everyone preview the track before the album drops November 23rd.

Download: Brandt Brauer Frick, “R.W. John”

Like many techno and house producers, Raphaël “Ripperton” Gros first laid down musical roots as part of a band. Though his groups Soul Merge and Reasons mined the live dance territory that was his calling (and even garnered critical renown in his native Switzerland), the appeal of coordinating eight members and their ideas wore off in favor of solo production. Soon his sleek, tech-house tracks adorned Connaisseur, Systematic, Sthlmaudio Recordings and liebe*detail singles, and he paired with Mirko Loko to form Lazy Fat People. While the pair’s project yielded their most widely received tracks to date (for Planet E, Border Community and Wagon Repair), Ripperton once again rides solo, dedicating much of his time running Perspectiv with Sam K and DJing around the world. The Swiss label boss and top notch jock curates LWE’s 26th exclusive podcast, offering a peak into his monthly residency at Lausanne’s D! Club.

LWE Podcast 26: Ripperton (59:20)

Tracklist:

01. Ndru, “Bubur Kacang” [Perspectiv*]
02. Adolf Noise, “Bäume Strahlen Stress Aus” (Robag Wruhme remix)
[Freund Am Tanzen]
03. Jus-Ed, “I’m From Connecticut … Bridgeport” [Underground Quality]
04. Moody, “Freeki Mutha F cker” (Catz ‘N’ Dogz rework) [unreleased]
05. Agnès, “Love Tempo” [Sthlmaudio Recordings]
06. Blagger, “Strange Behavior” (DJ Koze Aka Swahimi remix) [Perspectiv]
07. Jonny White, “Gush” [No.19 Music]
08. Chaton, “+91 Ahead” (Dachshund Version) [Plak Records]
09. Agnès, “Que Pena” [Perspectiv]
10. My Favorite Robot, “Modest Goddess” (Jonny White remix)
[My Favorite Robot Records]
11. Headless Ghost, “Neverending Stories” [Sthlmaudio Recordings]
12. John Daly, “This Is A Lonely Beat [Drumpoet Community]
13. Utku Dalmaz, “I Miss U” [Fhd Records*]
14. The Tape vs. RQM, “Luvely” (Kalabrese remix) [Mouthwatering Records]

When, where and how was this mix made?

Ripperton: Just before my residency party at the D! Club in Lausanne. Every two months we have our party there with all the Perspectiv artists and friends.

How did you select the tracks for the mix? Does it have a theme?

This is a melting pots of rare tracks, fresh news and forthcoming tunes, from Switzerland’s friends or people I really like.

Who are a few DJs you would love to see spin? Who are a few of your favorite DJs?

I’ve never heard DJ Koze play, but I can imagine how funny and groovy his sets are. Or maybe Omar-S. For the rest, I love so many producers at the moment who are maybe bad DJs, or perhaps the inverse I go often outside to discover some fresh music, and I adore seeing live bands.

What’s next for you and Perspectiv in 2009?

I just finished my first album, Niwa which I think will be released around September. It’s a real personal work, something I’ve been working on over the last two years. I’m currently working on two remixes, one for the Stimming’s first album single and another one for James Teej on Rebirth. Oh, one last thing: As Agnès has said, “Get your kicks and buy wax!”

LWE Podcast 26: Ripperton (59:20)

LWE Podcast 01: Terrence Dixon

After nearly a decade and a half of producing and DJing, Detroit native Terrence Dixon seems to constantly redefine what it means to be at the top of his game. I have to admit, though, I wasn’t aware of Dixon until I found last year’s stunning Train of Thought album on Yore Records. His choice of gnarled, densely textured loops was an unconventional delight which certainly stood out from all other albums, as it subtly threaded together a swath of otherwise incongruous sounds into floor-pounding and mind-warping techno tracks. Later I found out he’s been wowing fans since the mid 90′s, with releases on Utensil Records, Tresor and Background. Dixon was kind enough to briefly chat with me and lend Little White Earbuds a recent DJ set of his. It’s a bit low-fi and unfortunately I don’t have a tracklisting, but if you’re feeling cavalier, feel free to trainspot in the comments.

Check out a short interview with Mr. Dixon after the jump.

How did you get your start in producing? Do you have a day job as well?

Terrence Dixon: I worked at different fast food places in the early 90′s, started producing acid over a friends house.

Who are some of your biggest musical influences? What was your first techno/house record?

Some of my biggest music influences are Teddy Pendergrass, The O’Jays, Mantronix and Jimi Hendrix. The first record I bought was a Mike Ink hard acid record.

What gear do you make your compositions with?

Alexis Quadrasynth, MC 303, Alexis MMT-8, Soundforge and Acid.

When working on music, what feelings are you trying to invoke in listeners? What are you trying to accomplish with your tunes?

My music comes from my surroundings and the way my life is going at the time; it’s an outlet for me that I’m glad people enjoy.

What can we expect from you in 2008?

More music from the heart and mind.