As Bok Bok discloses in his LWE interview, Night Slugs is an outlet that exists in between modern pop music and other design pursuits, and it’s this in-betweenness and “stickability” that makes it so dynamic and agile a creative force.
LWE’s Curator’s Cuts podcast series features our reviewing staff mixing together recent favorites and providing explanations for their selections. For this edition LWE contributor Momo Araki compiled Curator’s Cuts 17. We will post the tracklist later in the week, as the curator discloses and describes the tracklist as part of the podcast.
In this interview LWE chats with Uwe Schmidt (aka Atom Heart/Atom™/Señor Coconut) about his recent work and his observations on the challenges surrounding contemporary music.
In 2003 and 2006, two early-80s minimal electronic records resurfaced on the Montréal-based label Oral Records. The long out-of-print, limited-release Monotonprodukt albums are the work of Konrad Becker, a multidisciplinary artist who now writes and conducts research about media. While Becker is currently busy doing work for the Institute for New Culture Technologies/t0, Public Netbase, World-Information.Org, and the Global-Security-Alliance.Com project, he was once, as if in another life, the inspired mind behind Monoton, an art project he started in 1979.
Baby Ford once said, “Voices on tracks have always been part of the sound, but that’s all it is, part of a whole sound.” “Gravy Train” and Soul Capsule’s “Waiting 4 A Way,” a track Baby Ford co-produced with Thomas Melchior in 2007, help us to understand this relationship of parts to wholes when it comes to vocals and instrumentation. There are similarities between the voices on “Gravy Train” and “Waiting 4 A Way,” both in execution and concept. Linguistically, they share a sexual “come on” croon, they’re worked with effects in equal measure, and both have been released as a cappellas. This last commonality suggests a logic where the voices are no longer just parts of a whole sound, but have become a whole sound in and of themselves.
Anstam are apparently a pair of brothers from Germany who seem to value anonymity and quality control, infrequently releasing the austere records bearing their name. “Aeto” and “Brom,” their first two 12″s, are notable for industrial atmospheres featuring beats familiar to fans of Warp, Skam, Rephlex, etc. However, Anstam’s music isn’t wholly encompassed by a 90s sound, as they’ve been likened to contemporaries like Distance and Vex’d. The similarities are cosmetic though, as the records aren’t specifically operating within the constraints of dance-oriented music. Nonetheless, they do tap into nostalgia of bygone electronica and encourage sound system brutality.
“Workshop 07″ marks Even Tuell’s first solo EP for Workshop (profiled last year on this site) and known for its left-of-center output. From what we’ve heard in his mix for LWE and his own Airbag Craftworks compilations, Paul-David Rollmann seems to have just as much of a penchant for balm as he does for the sparse beats released on Musik Krause and Broque. In comparison to standout tracks like “Pretty Bonita” and his contribution to “Workshop 04″, “Workshop07″ comes as a disappointment.
Illustration by JFish [Raster-Noton] Is Raster-Noton loosening up? 2007 foreshadowed their potential foray into techno with Signal’s Robotron and Frank Bretschneider’s Rhythm. The dream was realized last year with Byetone’s Death of a Typographer and “Plastic Star” 12″, in addition to the Gas book/CD. These motley releases are something of a face lift for a [...]
[Vidab Records] Oliver Deutschmann and Stephan Hill are the producers behind Gowentgone and the Vidab label. As noted on their website, Vidab was founded by the pair as “a platform to express their idea of timeless club music.” On the “Under the Bridge EP,” Gowentgone seem to be wrestling with two interpretations of timelessness: one [...]