[Sandwell District]

The most notable aspect to the run-up to the release of Sandwell District’s debut album was the hype surrounding it, but this writer was also struck by expectations from some corners that Feed-Forward would not bring with it a seismic advancement for techno music. By definition, such a viewpoint is fallacious. Operating within a rigid set of guidelines and structures means techno producers face the dilemma of either flirting with other related styles, or alternatively, facing the almost insurmountable task of producing something of magnitude within the ascribed parameters. Speaking about the limitations placed by techno’s adherence to 4/4 back in 1997, Jeff Mills told this writer it was “a wonderful hindrance” and he relished the challenge of making an original sounding piece of music within these constraints.

While it would be easy but perhaps simplistic to accuse Mills of constantly referencing himself, criticism of Sandwell District and Feed-Forward revolves precisely around the questionable points — that they are merely adept recyclers of the past (often their own work) or they’re not imbued with a sonic alchemy capable of miraculously transforming a 30-year-old genre with a game-changing release. To be disappointed by their predilection for the former and inability to provide the latter betrays a deeply flawed perception of where techno is at nowadays. Rather than viewing the recycling tendency as a negative, this writer feels it is precisely this attribute that makes Feed-Forward such a defining statement about modern day techno: it assimilates existing tropes and narratives from all of the contributors’ recent and not so recent back catalogs to forge a new identity.

Of equal importance is how Feed-Forward effortlessly captures the prevalent tug and pull between techno’s past and present — audible among Sandwell District’s peers, such as Shed, Klock, Dettmann, and Dehnert. Even the album’s presentation, on limited edition vinyl and featuring Silent Servant’s situationist meets surrealism artwork (also exhibited in a fanzine from him) and an accompanying seven-inch single, evokes memories of a pre-techno era when bands went to great lengths and dedicated considerable resources to rewarding vinyl-buying fans. Yet it is also a defining aspect of modern techno. Faced with the prospect of getting lost in an ocean of digital-only, Beatport-friendly mediocrity, many producers are focusing their efforts on vinyl. Limited to 700 vinyl copies, Feed-Forward is a genuine artifact, a document to hold and treasure, guaranteeing the kind of treatment electronic music albums rarely receive (and setting off a bidding war on Discogs). This point is crucial because if you were wooed by earlier Sandwell-released efforts like “Isolation” or “Variance,” the direction Feed-Forward takes may disappoint you. Without containing too many big room techno tunes, it succeeds in giving vent to the Sandwell operatives’ various creative caprices and distills these into a coherent body of work.

The opening “Immolare” sonic triptych defines Sandwell District’s ability to recycle and redefine: sounding like the auspicious beginning to Vapourspace’s classic “Gravitational Arch of 10,” the tone and tempo quickly shift into grungy reverberating riffs and a clinically pulsating rhythm track that is pure Function. It quickly fades to reveal an airy synth soundtrack fighting to be heard above grubby industrial static hums. “Grey Cut Out” also references Sandwell’s collective and individual identities, but the grimy broken beats also conjure up memories of Kalon’s “Born-Against” tempo-wise and the distorted industrial techno of Downwards. What’s more surprising are the chilling chords that cloak the track as it progresses. This eerie interpretation of Detroit techno is audible again on “Falling the Same Way,” where mournful pads complement a purring bassline and doubled-up claps. It’s the most conventional track on the album, but even then it avoids veering into pastiche thanks to a palpable sense of menace bubbling close to the surface. The same sensibility is evident on “Svar” and “Double Day,” where stripped back rhythm tracks are on offer; this is achieved on “Svar” by a gradually building wall of distorted noise and on “Double Day” with hissing, razor-sharp percussion and swinging drums making way for a bleak, tonal bass line.

That’s not to suggest that Feed-Forward lapses into “listening album syndrome,” where techno producers produce one lazy downtempo piece too many. “Hunting Lodge” is among the grimiest techno you’re likely to hear in 2011, characterized by filtered breakdowns, grungy textures and evil acid riffing, like a pre-Purpose Maker Mills or early Surgeon updated for modern palettes. “Speed + Sound (Endless)” is a tripped out spacey groove that throws out references to F.U.S.E.’s Dimension Intrusion album and goes back further to John Carpenter. That the album ends on an atmospheric coda similar to the opening sequences of “Immolare” provides neat symmetry to the album proper. The accompanying seven-inch is also worthy as an interesting addendum. The A-side starts with eerie textures and tonal hypnotism, before moving into Blade Runner-esque synth dreaminess and then repeating the process, while the flip starts with squalling interference, before morphing into an echoing ambience that is supernaturally beautiful yet transient and fleeting, like the northern lights. If you’re looking for something genuinely new, a body of work that starts from the ground up rather than one that builds on existing structures, Feed-Forward is probably not for you. Equally, if you want a collection of dance-floor slaying tracks, you may be disappointed. But if you’re searching for a release that sonically and conceptually defines the prevailing techno zeitgeist, you’ve come to the right place.

There’s long been talk about podcasts usurping mix CDs, but that never felt as overwhelmingly possible as it did in 2010. It isn’t just that there were only a handful of convincing commercial mixes available, although that certainly didn’t help. What really made the influx of podcasts feel so intense was the sheer quantity of them. Plenty sit here on my computer unheard simply because of time constraints and there are hundreds more out there just waiting to be discovered. 2010 may have been stocked to the brim with WikiLeaks and anti-austerity protests, but some days it seems that neither compare to the glut of podcasts. That said, I cannot claim this is the definitive list of the best mixes from the second half of 2010, but these are the ten that hit me the hardest and still get regularly aired. If you want to know the soundtrack to this writer’s 2010, this list and the first half list should just about cover it.

Steffi – mnml ssgs labyrinth special
Steffi’s productions may tend towards deep, sometimes-vocal house (just check her latest “Reasons” for Underground Quality or “Kill Me” on Ostgut Ton), but as a DJ she’s nearly impossible to define. What’s most impressive about her mixes are the many moods and styles she manages to go through while keeping everything cohesive, and her mix for mnml ssgs in anticipation of Labyrinth was no exception. Her deft touch and always killer selection make her one of the most exciting DJs, and made this mix simply one of the best of the year.

Peverelist – RA.218
I can’t quite figure out Peverelist. On the one hand, he seems to be one of the only DJs around with a purist attitude towards dubstep, and on the other hand he pushes bass music further than almost anyone else. Both sides are on display in his killer contribution to RA’s podcast series, where Pev keeps true to dubplate culture while showcasing some of Punch Drunk’s finest 2010 emissions (of which there were many) and plenty of other big tunes the UK offered up this year. Essential.

reagenz – lunar landing live
David Moufang and Jonah Sharp’s recent releases on Workshop were excellent, but hardly the only reason the reagenz project has been so vital. This vast, immersive live set, made available at the beginning of this year on Soundcloud, has been on constant repeat for me. Kicking off with slowly moving textures and eventually encompassing more beat-driven pieces (climaxing with, of course, the indomitable “Keep Building”) resulted in an incredible, glowing set. As a celebration of the 40th anniversary of the Apollo 11 mission, nothing sent me to the moon quite like this.

Function – Promo Mix 009 /// Red Zone
Function: Sandwell Collective member, techno extraordinaire. But that would be selling Dave Sumner’s talents short, given that his Promo Mix representing New York’s Red Zone in 1991 was an incredible trip through the most classic of house music. This mix, and its explanation provide a top notch history lesson, from the use of rotary mixers to the decay of New York nightlife in the early 90′s.

Conforce – FACT mix 168
Conforce may have produced one of the best EPs of this year (the incredible, ethereal Grace EP on Delsin), but his sheer talent was probably best on display in this sterling live set. FACT’s podcast series can be a tough one to keep up with, but this mix shines brightly above the almost one hundred podcasts they offered this year. Melodic and swinging, this hit my techno pleasure zones every time.

Eli Verveine – bptchk! fanzine #03
I feel like Eli Verveine may be the most underrated DJ on the planet. Perhaps my perception of her popularity is a bit off, but if gigs were booked based on straight talent Eli would be traveling the world with the best of them. Her “Rawmance” mix for French website-cum-print-publication Boing Poum Tchak! is a perfect example of her warm and romantic style. To dance with fireside with a bottle of red wine.

Ramadanman – Bestimix 23
These days Ramadanman sets are almost unfair given that he can play so many of his own productions and dubs. The man’s 12″s and various unreleased goodies this year were like gold; giving any DJ who wielded them an incredible leg up. That’s not to diminish David Kennedy’s own DJing chops, as his Bestimix is an addicting mix of modern bass music. But when his own productions hit, watch out.

JD Twitch – Optimo Podcast 06: Acid Eyeful
Optimo may be known for their eclectic DJ sets, but when they focus on a singular sound the results can be staggering. Case in point: JD Twitch’s ode to acid house “Acid Eyeful” (cheeky name). Flurries of 808s and, of course, 303s are all here, sure to induce wild and jacking acid flashbacks. A great companion to their fabric 52 CD, released around the same time.

Autonomic Layer 11
The Instra:Mental/dBridge/Autonomic juggernaut has been near unstoppable this year. Their own label NonPlus+ reached well outside the confines of drum and bass (Kassem Mosse, Actress), and so do the Autonomic mixes. While 2009 saw a new one almost every month, the appearance of Layer 11 in October after an unfortunate drought was more than a welcome sight. Unsurprisingly it’s a destructive bit of modern drum and bass, electro, house, and everything in between, bookmarked by the always-enjoyable influences sections. If you want to hear the future, the Autonomic crew have you covered.

John Roberts – LWE Podcast 59
We’ve gotta give props to our own series, especially in a year where we felt with each Monday came a really killer listen. Picking just one LWE mix from the past couple months has caused many headaches, but I’ve got to give it up to John Robert’s magical set of dusty Chicago house. Classics from Trax, Robert Owens and others sat alongside future classics, especially Roberts’ own “Porcelain.”

[Sandwell District]

Amid numerous anonymous labels, many of which are growing less mysterious by the day, Sandwell District has somehow retained its enigmatic edge. This is somewhat peculiar, as all of the artists associated with the label are well known, highly respected and have been around since the 90′s. Yet their blog provides more questions than answers, and by placing little importance on track titles or artist credits, Sandwell District have strongly defined themselves as a collective. Two new multi-artist sampler singles, which are apparently appetizers for the forthcoming Sandwell District collective album, only reinforce this perception.

Sampler one kicks off with an “Intro” that consists mainly of the ominous sounds featured on last year’s “Variance” and industrial drones. Things really begin in earnest with a shuffling bit of techno from Function, which combines bubbling, arpeggiated melodies and sweeping neo-Detroit synths for one of the more grand and sprawling Sandwell tunes yet. While Function’s offering owes a good deal to early Belgian techno, it manages to feel especially timeless, even in a musical climate choked by conspicuously retro house and techno. The record comes to a close with a short, uncredited bit of bass rubs and drones at B2, but the B-side’s main attraction is the Regis edit of a Silent Servant tune found on the second album. Its slight stepping attitudes and hissing, affective melodic touches, reveals some of the softer side of the British Murder Boy, making the best use of its source material. However, Silent Servant’s original, stocked in whose submarine radar bloops, driving percussion and dour melodies, easily emerges as the highlight of the two records. Regis reshapes it nicely, but Juan Mendez puts his best foot forward and produces perhaps one of the most stunning tracks of his career. It’s epic and misty-eyed in the way few techno tracks are, and while Sandwell District may have championed a sort of austere brand it shows they’re capable of much more.

The opening atmospherics of sampler two lead into an attractive ambient piece by Female, here as a “Live Extract,” which fits in well with the similarly melodic and aurally pleasing tracks found across both samplers. Regis re-edits this one as well, but to greater effect than before. Rediscovering Regis’ Downwards albums has been a real joy for me, and while doesn’t approach the sonic roughness of his 90s material the harsh vibes and underlying brutality still remain. Silent Servant provides a second tune on sampler two, this one colder and more heads-down as the aforementioned radar bloops reappear accompanied by backing drones and delayed voices. With over 40 minutes of music on offer here, plenty of room is left to be filled in once the eventual album rears its head. Yet these teasers reveal that Sandwell District are not only maintaining a high standard of quality, they’re branching out into moods and tones that their many admirers might not have expected. And by expanding the scope of their sound without compromising their vision of “true” techno music, the Sandwell District collective will continue to add adherents to their already devoted legions.

Where is the original version of “Variance”? What about “Variance II”? Who is N/A (or is the artist’s name just “not available”)? Thing is, the original artist’s name doesn’t really matter; the only name that does is Sandwell District. They’ve always had a penchant for facelessness, and with the recent release of the “Variance Edits” over two pieces of vinyl they’ve gone a step further into anonymity. But you always know where you stand with Sandwell District, and here they give you exactly what you ordered: “True. Techno. Music.”

Function is up first with a dark, foreboding slice of techno on a beautiful piece of blue vinyl. Starting with some otherworldly sounds, ominous bass tones soon settle in amid heavily delayed rattles and quirky two note bloops. It takes its time setting up, but once the destructive kick drum hits with those trademark Function claps you can almost see a packed warehouse with strobes blaring. Marcel Dettmann is next, wading through a murky swamp of bass with low, twisted synth noises bubbling at the surface. There’s a faint hint of melody somewhere, but it’s too far submerged below the cloudy water to make out. Regis’ take of “Variance IV” incorporates the rhythms of dubstep slightly, which when coupled with Mika Vainio-esque bleeps, reverberating bass notes and a relentless kick drum make for an extremely accurate picture of techno in 2009. Sandwell District are uninterested in trends; they do techno. Hordes of producers just happen to follow in their wake.

[Sandwell District]

The label Sandwell District has always been a mixed bag. In an RA profile, label keystone Function, (or Dave Sumner of NYC if anonymity’s not your thing), explained that Sandwell release are selected by any of the artists involved. So the aesthetic values put forward can therefore have as much to do with high concept as with pushing a consistent label sound. This seems like a blessing with the arrival of Function’s “Anticipation” single, as it sounds a little different from the rest of Sandwell’s catalog and must also rank as its strongest output to date.

Both cuts here are stripped down, hypnotic, and more trancey than chugging. Dettmann, Fengler, and Redshape are the obvious contemporary references for this sound, and A-side “Disaffection” shares more than a little in common with the previous Function release on Sandwell, “Isotope.” “Disaffection” feels more fully matured, though. Each little snare seems to be crossing a “t” or dotting an “i,” and in this sense seems to form a perfectly self-contained sonic world. “Burn” is better still. It stretches out sinuously over the leisurely length of ten minutes, which makes it one of the longest Sandwell tracks; but “Burn” has, indeed, more than enough sizzle to hold attention across its length. About six-and-a-half minutes in, just when things might have wound down, a welcome breath of life comes into the tune: no profound change, but the longer time gives the track room to lose the listener in its languorously paced smolder.  If you’re feeling the mojitos and BBQ and want something to suit the sunshine, maybe look elsewhere. Neither “Disaffection” nor “Burn” are exactly breezy and summery, but it’s a good bet they’ll still be brightening many a playlist come winter.