Glued to our smartphones and reliant on all manner of high-tech gadgetry, the line between human and machine has never been harder to discern. For Brandt Brauer Frick, this porous boundary is a source of great inspiration to their music and ethos. Since 2008, Daniel Brandt, Jan Brauer and Paul Frick have pushed themselves to this edge in pursuit of classically rooted, organically sourced techno that demands precision in recordings and during live performances. The last two years have seen them form the Brandt Brauer Frick Ensemble, whose horns, strings and percussion add depth to an already intensely detailed sound, especially live. Their recently released second album, Mr Machine dazzles as it offers new interpretations of previous highlights and their expansive revamps of songs by Emika, Agnes Obel, and Scott (Brandt and Brauer’s first project). Having last spoken to Paul Frick in early 2008, LWE caught up with Daniel Brandt about the creativity hatched by the Ensemble, working with Rashad Becker, and how UK bass music is inspiring their new material. They also created LWE’s 109th exclusive podcast, a genre-promiscuous mix placing many of their favorite 2011 releases between classic techno sides and seminal classical music.

LWE Podcast 109: Brandt Brauer Frick (61:18)

Tracklist:

01. Gustav Mahler (played by Claudio Abbado with Berlin Philharmonic), “Andante Commodo” [Deutsche Grammophon]
02. Luc Ferrari, “The Dress Rehearsal Performed Before Brunhild On 24.10.08″ [Sub Rosa]
03. John Cage (played by Klára Kormendi), “Sonatas And Interludes V” [Hungaroton]
04. Helmut Lachenmann (played by Herbert Schuch), “Guero” [Oehms Classics]
05. Steve Reich (played by Amadinda Percussion Group), “Piano Phase” [Hungaroton]
06. Roman, “Goodbye Bunny” (Brandt Brauer Frick Reinterpretation) [Kalk Pets]
07. Jeff Mills, “Revolt” [Tresor]
08. LCD Soundsystem, “45:33″ (Theo Parrish’s Space Cadet Remix) [DFA]
09. G.H., “Ground” [Modern Love]
10. James Blake, “Give A Man A Rod” (Second Version) [Hessle Audio]
11. Robert Hood, “Resurrection” [M-Plant]
12. Bodo Elsel, “Fantasie Mädchen” [Playhouse]
13. Pearson Sound, “Untitled” [Night Slugs]
14. SBTRKT, “Ready Set Loop” [SBTRKT]
15. Wax, “No. 20002″ [Wax]
16. Emika, “Pretend” (Brandt Brauer Frick Rework) [Ninja Tune]
17. Crazy P, “Make Me Wanna” [20:20 Vision]
18. Mr. K Alexi, “Don’t You Know” (Ron Hardy Muzic Box Classic)
[Partehardy Records]
19. Amon Tobin, “Lost & Found” (Brandt Brauer Frick Skiffle It Up Dub)
[Ninja Tune]

I know your live set provides opportunities for you to change it from set to set, but as a three piece you’ve been playing mostly the same set for a long time. What keeps it interesting for you?

Daniel Brandt: Our three-piece live set is based mostly on improvisation between the three of us, so while we sometimes add new tracks — it’s always improv-based. Even though we often play the same songs, it’s a different set each time, which keeps it interesting.

Along the same lines, it seems songs like “Bop” are going to stay with you forever. Do you want to keep playing and updating them or are you ready to retire them for new material?

With a song like “Bop,” it’s true that we have been updating and refining it since we’ve first started playing it, and we probably won’t be getting rid of it any time soon. But we’re now at a point where we’d like to do completely new things, and get rid of the older material to a degree. Of course we’ll keep some of the older material in our live sets, but we aren’t going to do any new versions of updates of “Bop.”

Working with the Ensemble means there are obviously a lot more moving parts — human ones at that — which you have to coordinate and rehearse, etc. Is the Ensemble something of a handbreak on your compositional creativity? It’s definitely an added challenge on top of your musical goals. How do you plan to challenge yourselves next?

The Ensemble isn’t a handbrake on our creativity, because the opportunity to work with new people brings a new set of perspectives; and the members of the Ensemble bring their own ideas to the project, which is a good thing. Now our new challenge will be do something different with the Ensemble, maybe something that is more rocking, more for the dance floor. We don’t really want to stick with the same concept with the Ensemble that we used on Mr. Machine; we’d like to be always trying new things with them. Right now we’re in a period just before starting to record new material, which will lead to us deciding how we’d like to present it live. Even with the three-piece, we’re looking at adding a live drummer and changing the way we perform. It’s all very open. The members of the Ensemble will definitely have input on the composition of the new material. Different members will be coming to the studio as we’re composing, and we would like for the composition process to be spontaneous.

In the classical world, groups are always playing other composers’ work. Do you see any connection to that in the reinterpretations BBF does of songs by Emika and Agnes Obel, which ended up on Mr. Machine?

There is some connection to that tradition, but at the same time, with the material that we covered on Mr. Machine, in a lot of cases we weren’t adhering so strictly to arrangement or even composition of the original. For example on the Emika track, we first made a remix (as a trio) using just the vocal from her original track. We made completely new music for the remix to place under her vocal. Then the version that appears on Mr. Machine is a new interpretation of that remix with the Ensemble. So it’s not quite the same as taking another composers work and playing it faithfully. Even on something like “606 ‘n’ Rock ‘n’ Roll,” where there aren’t vocals, we kept the rhythm and lead lines intact, but added more dynamics, the way the track slowly builds from the beginning to the end, whereas the original version was basically rocking from the first second.

Do you feel the versions of You Make Me Real songs on Mr. Machine are fuller interpretations of what you would have wanted to do on the first album, or just the adaptations for the full ensemble for playing live?

The new album isn’t what we wanted to do with You Make Me Real, we actually did everything for that album the way we wanted to do it in the first place. The Ensemble arrangements were made specifically for performing live, and we decided we would like to record them because they sounded quite different from the originals. We were quite happy with the results.

I’ve read you recorded the album with Rashad Becker. What was that experience like? Obviously his name is more often associated with mastering; was he mostly engineering?

Yes, we recorded with Rashad, and Axel [Reinemer] from Jazzanova. Rashad was mostly engineering, and also placing the microphones together with Axel. We also did a really long mixing session with Rashad, and he really knows what we wanted, but also has his own ideas about the music we play. So we generally came up with something between what we wanted and what he wanted, which made for the best results. We were sort of approaching things from a techno perspective, whereas he was looking at it from more of a modern classical perspective, and it was to the benefit of the album to have these different ideas and even some arguments. We get along very well, and it helped to have different perspectives. And of course his mastering and engineering expertise played a part as well.

Who did the artwork for this album? Was there anything you were trying to convey with it?

Mr. Machine is maybe the first half human/half robot on the planet, and we have all these body parts and are just putting them together, and they still work if you attach a battery. It’s about the line between real and technical, and Mr. Machine is all that at once. The idea came from a sign for an electrical supply shop or hardware store, which featured a hand with a light bulb as one finger, which served as the basis for the idea. A friend of ours, who also worked with us on the “Pretend” video, helped us construct the objects.

Whose idea was it to put 16 minutes of silence at the end of “606 ‘n’ Rock ‘n’ Roll”? Have you always been fans of Easter eggs/surprises on albums?

Yes, we have always been a fan of that sort of thing. Of course, it works better if you’re listening to the CD as a whole. We actually got an email from someone who had bought the album on iTunes, and thought something was wrong. But the idea that you could put the record on, and then you forget about it, and the music comes back again when you’re not expecting it is something that we liked. I don’t remember whose idea it was to begin with, though.

You personally have made several mentions of UK bass music and drum n’ bass as inspirational music. Those influences have seeped into a couple works, like your remix of Roman’s track. Is this something you look to incorporate more in the future?

Definitely. At the moment we are really inspired by these sorts of beats, and are working at recording drums and percussion that go in this direction. We even took certain tracks that we really liked and tried re-playing them, to get a feel for potential arrangements, and how to get the same power of some of the UK bass music we like. The next music that comes out from Brandt Brauer Frick will likely be influenced by that kind of music.

Where are you looking to take the BBF sound in the coming months? How much will you be utilizing the Ensemble in 2012?

We’ll keep on going with the Ensemble, and will continue to incorporate new music with them as well. The most recent show we had with them in Berlin was very encouraging, and we’re definitely excited to continue to work with them. But the first priority right now is changing the three-piece live act and maybe incorporating a visual element. I’ve been speaking with some artists who are interested in contributing on a visual level, so we have some exciting options there.

Tell us about the podcast you made.

The podcast is basically comprised of the music we’ve been listening to and inspired by over the last year. Half of it we recorded with vinyl, and half of it we put together in Ableton. We started it in Berlin, and actually worked on it on tour, especially one day in Austin. We had a day off, and worked on it on our computers in the hotel. Many of these tracks are our favorites from the last year.

As one of Paul Frick’s early advocates we were extremely pleased to host one of his excellent strings-and-things live sets as our 13th exclusive podcast. We hope you have another gander at one of our favorite mixes before it’s placed in the vault this Friday, May 14th at 10 a.m. CST.

If you don’t already know the names, nota bene: this three-man acoustic techno team is one part Paul Frick (classically trained musician cum dance music producer) and two parts Scott (aka Dan Brandt and Jan Brauer). After only a handful of releases — all noteworthy — the hubbub surrounding this trio means that each new addition will be met with great expectations. Here, although their self-recorded acoustic sounds are ripe for the picking, the group falls slightly short of their soulful reputation.

“Wallah” begins with stabs of Frick’s characteristic prepared piano, dirty and out-of-tune. Clackety percussion trickles in and around the twinkles before warm chords emerge. After watching the video for “Bop,” it’s hard not to picture the band’s hands as each element appears. On the flip, “Button” starts more mysteriously, a Les Baxter-esque adventure into an exotic village. Fitted with sexy echoes twisting through a loose and lurid soundscape, the B-side’s slink better embodies the allure of BBF’s unplugged mentality. Though there’s much to love in this jaunt into more typical house territory, I suspect the group has far more to offer on their upcoming full length, due in March on Tartelet Records. Their dedication to organic sound could very well put them ahead, but only if they can deliver on the promise. Talk of a 12-man ensemble for their live performance is certainly enticing. Despite the understatement of this release, these three have much to be proud of, including their Berghain performance for the Club Contemporary Classical festival, and a mention of their video on Kanye’s blog), and we have at least two more reasons to anticipate all they have in store. I only hope Frick saves a few of the prime cuts for his own imprint.

[The Gym]

So far in his brief dance music career, it seems wherever Paul Frick goes his pals Daniel Brandt and Jan Brauer are sure to follow. The pair, who record together as the ambiguously named Scott, have been remixed by Frick, appear on two compilation EPs with Frick (for klamauk and 30porumalinha), and round out the trio Brandt Brauer Frick (whose excellent “Iron Man” single and attendant Lee Jones remix have been unfairly overlooked). So don’t expect to win points guessing who’s on the flipside of the Paul Frick-fronted single from the brand new imprint The Gym.

If this pairing is predictable, the sound of Paul Frick’s A-side, “Would You,” is only somewhat less so. In this case it’s hardly a bad thing, as we find Frick has grown even better at integrating his classical background into nimble house tunes. A plucked double bass line struts through a whirling atmosphere thick with effervescent, pitched up female vocals and chunks of marimba runs, all carefully sliced and arranged to pull dancers onto the carousal. Light and fluffy like meringue, “Would You” is a sweet treat that doesn’t linger. “What You Got” by Scott is earthy in comparison, nailed to the ground by an obstinate vocal sample demanding answers to the titular question. Scott’s retort is a two pronged, with pointed organ chords on one side, creamy, spaced out pads on the other, and live sampled cymbals and hand claps in-between. After the uplifting “Would You,” Scott’s side is sort of a drag, offering a relaxed vibe and decent tailoring but not much else besides. Frick, Brandt and Brauer’s magnetic relationship is sure to bring them together on wax again in the near future; perhaps their next meeting will be a more balanced affair.

Here’s one rare time when “ask and ye shall receive” actually holds true: After being hounded by enthusiastic DJs and recently egged on by Tape/RA’s Richard Carnage for a dub version of “Steal My Heart,” Paul Frick relented and created one. In addition to trimming Crawford’s clever narration, Frick also fine tuned a few elements to ensure full dance floor utility. Even better, he offered LWE the track as an exclusive free download. So if you liked what you heard in Frick’s recent podcast or just held out hope for an instrumental version, snap it up here. Thanks to Paul and Kalk Pets for their generous donation.

Download: Paul Frick, “Steal My Heart” (Dub Version)

Trained in the discipline of classical music and well versed in jazz, Paul Frick leaped into the world of dance music with surprising ease, finding his senses and skills well attuned to its constant pulse and openly familiar structures. Offering both sharpened bits of his classical past (“Do Something EP”) and the inventive way forward (“Knock On Wood EP” featuring the stunning “Steal My Heart”) on his Kalk Pets releases and an adroit sense of construction which transformed Scott’s “Memory Core” into a deep-house groover, Frick’s music positions him as a burgeoning talent destined to make waves rather than swim with the tide. For LWE’s 13th podcast, the Berlin-based producer performed an exclusive live set drawn largely from unreleased and live-only tracks that has us wiggling with awed enthusiasm.

LWE Podcast 13: Paul Frick (52:08)

Tracklist:

01. Paul Frick, Untitled [live only]
02. Paul Frick, “Got The Blues” [Kalk Pets] (groovebox version)
03. Paul Frick, “Five o’ Clock” [unreleased] (groovebox version)
04. Paul Frick, Untitled [live only]
05. Finchhatten, “Hey Bob” (Paul Frick groovebox remix) [unreleased]
06. Paul Frick, “Do Something” [Kalk Pets] (groovebox version)
07. Paul Frick, “Steal My Heart” [Kalk Pets] (groovebox version)
08. Scott, “Boh” (Paul Frick remix) [unreleased]

When and where did you make this set?

I recorded it some weeks ago at home, after practicing for a live gig at Flex, Vienna.

What is the concept behind the set?

It’s entirely a groovebox set, which gives it a little old school touch, I guess. I wanted to see what comes out when I make music with different equipment than normally. And Strobocop (who runs the label Kalk Pets) also encouraged me to do a set without computer. So I bought this Korg ESX which has a sampler in it. Of course, its technical possibilities are reduced compared to Ableton, but this certain challenge gives me a lot more excitement while performing. With this I really have to sweat And it can be very creative to be reduced to a small amount of knobs to turn and elements in a pattern, it also gives you more control of each one of them. I really enjoy playing live with that little machine! Of course, the live versions of already produced/released tracks sound very different from the originals. It is actually a strange thing for me to reinterpret some of my own tracks with less freedom, but interesting because there is always a new aspect of them coming out.

Who are a few of your favorite DJs past and present? What about performers of live PAs?

I got into electronic music very late; I think Akufen’s album My Way was the first time I really admired house music. So I discovered a lot of great older stuff only years later, like Theo Parrish, who I haven’t heard DJing, unfortunately. The DJs who most impressed me lately are Stefan Goldmann, DJ Koze, Strobocop (who plays a lot of great old records that I have never heard before!), Crawford, Cassy, Carsten Klemann, H30H and Mark Henning. I tend to get a bit disappointed by dance music live acts, ’cause I am often trying to figure out what they are actually doing, instead of just enjoying the music (if possible) and dancing. So under the performance aspect, I would say I have been more touched by classical orchestras or bands. Anyway, great live acts I have seen are Sound Stream, dOP, Le K, Akufen, Guillaume & The Coutu Dumonts, and above all, Scott.

What can we expect from you in the next year’s time?

Some new EPs on Kalk Pets, 30porumalinha and other labels, a couple of remixes, and probably an album in the end of 2009. I am recording material with several classical or jazz musicians which I will turn into house music. And I have a new project I am very enthusiastic about. It’s called Brandt, Brauer & Frick, the other two are Daniel Brandt and Jan Brauer from “Scott.” We make house/techno inspired music, only with acoustic drums and percussion, a prepared piano, vibraphone, Rhodes, bass guitar, objects and sometimes a synth (no plugins). We only made a few tracks until now, and we are really happy about the results and the way of working together! I guess our style could bring to mind Steve Reich as well as old school loop techno. Our first gig will take place at the monthly My My party at Watergate, as soon as we are ready. We are actually aiming to do fully instrumental concerts in a concert hall or festival context. But this will take some time. I am more and more trying to bring together my classical composition background and my love for dance music.

LWE Podcast 13: Paul Frick (52:08)

01. C.B. Funk, “Subway to Cologne” [Story] (buy)
It didn’t take long for the cloak of anonymity to be yanked off Story’s inaugural release, but it’s difficult to blame listeners for wanting to know its source. “Subway to Cologne” may be the best work yet from Christian Beißwenger, better known as C.B. Funk and recently revealed as half of the Arto Mwambe project. Transforming the droning sounds of public transport into a deep-house micro anthem, the tune subs humming pads for Rhodes, clamorous metal shakers for bongos, and wordless yet funky vocal drops for gals crying “house!” Its arrangements are expertly timed and its embellishments, such as the flirty flute licks, are divine. Beißwenger delivers on the promise shown in Arto Mwambe releases while leaping clear of popular pitfalls. Next time, perhaps, he’ll give in and start out with his name on the record.

02. Scott, “Memory Core” (Paul Frick remix)
[My Best Friend] (buy)
It’s a damn shame that Paul Frick’s first ever remix is relegated to digital only status, because it’s the finest track on Scott’s otherwise decent “Anytime” EP. “Memory Core” was originally somewhat messy before Frick rearranged the furniture and mades sense of its otherwise pleasurable elements. Streamlined and infinitely more floor-friendly, Frick’s version manages to keep a straight face while the vocals whisper and moan, “the girls are pretty” and “the beer is for free.” Balancing lighthearted motifs while entirely reformatting a track is no easy task, but it’s one Frick accomplishes his first time out of the gate.

03. DJ Boola, “Predator” [Innervisions] (buy)
It’s quite a vote of confidence in Romanian newcomer DJ Boola for the close knit Innervisions crew to release one of his first few tracks. But listening to “Predator,” the B side to Lil’ Tony’s unruly “House,” it becomes quite clear why they were so assured in his abilities. Its deceptively intricate melody ascends triumphantly from a thicket of knobby and swiveling percussion textures before bouncing off a thrilling counterpoint, all while maintaining a danceable groove. It’s a bit rawer than most Innervisions releases tend to be (as acknowledged in the “Basement Tracks” title), but given “Predator”‘s underlying quality and lack of recognizeable peers, you know Dixon and co. are ready to vouch for their newest addition.

04. Telespazio, “Telemetric” (Arto Mwambe’s Guitar Down remix) [Tiny Sticks Records] (buy)
We’ll admit it: Arto Mwambe’s remix of “Telemetric” is house musical revivalism at its most blatant and unabashed. And yet, that hardly detracts from the enormous joy we get each time its fat piano chords crash down, each time the euphoric synth riff riggles up the scale, and each time the sound of a hand sliding across a guitar’s strings winks knowingly at the indie disco palate of the original. It’s the sound of two producers going all in on their love for big cheesy house music, replete with drum roll, without shedding details to fit in with the crowd. Here’s to letting it all hang out every once in a while.

05. Krause Duo, “Box” [Milnor Modern] (buy)
The “Splitpak” EP marks one of the few times Das Krause Duo has released outside of the like-named and minded Music Krause. It also hosts one of their most accessible tracks (which is saying something) that retains their distinct flavor and approach to techno and house. The first foreboding vibes of “Box” quickly give way to bursts of intermingling scratchy, static-y and wonky drum programming. And once syncopated “horns” start lurching forward your ass starts wiggling, your mind thinks of rubber-stamped MDR 12″s. Here’s hoping the Duo steps outside more often if these are the results. We also highly recommend dB’s “Rich Kids On Cheap Drugs” from the same EP.

06. Sound Stream, “‘Live’ Goes On” [Sound Stream] (buy)
07. Melchior Productions, “Who Can Find Me (I Can’t)” [Cadenza] (buy)
08. John Roberts, “Hesitate” [Dial] (buy)
09. DJ Bone, “One More Tune” [Subject Detroit] (buy)
10. Luke Hess, “Platte” [Echocord Colour] (buy)

Check out staff charts after the jump.

Staff Charts

Per Bojsen-Moller:

01. Solomun Vs. Ost & Kjex, “Federgewicht” (Hamburg Version)
[Diynamic Music]
02. Johnny D, “Requiem Of a Dream” [8bit]
03. Frank Lorber/Bernd Maus/Erik Besier, “Tres” [Nummer-Schallplatten]
04. Quince, “Genetrix” [Music Man Records]
05. Swayzak, “Bunny Girl” [Swayzak Recordings]
06. Stewart Walker, “Terraforming the Sahara” [Persona Records]
07. Mister X, “Hazy Bliss” [Subject Detroit]
08. Kollektiv Turmstrasse, “Blutsbrüder” (H.O.S.H. remix)
[Musik Gewinnt Freunde]
09. Seph & Pablo Denegri, “Obsure (Bruno’s Pretty In Pink Mix) [Dumb-Unit]
10. Broker/Dealer, “Save It For Later” [Spectral Sound]

Jeremy Cohen:

01. C.B. Funk, “Subway to Cologne” [Story]
02. Anton Zap, “Basement Groover” [Quintessentials]
03. Paul Kalkbrenner, “Square 1″ [BPitch Control]
04. Sound Stream, “Dance With Me” [Sound Stream]
05. Yacht, “Summer Song” [DFA]
06. Richard Bartz, “Diamond Girl” [Kompakt Extra]
07. Lee Jones, “MDMAzing” [Aus Music]
08. Slowhouse, “Untitled #3″ [Slowhouse]
09. Luomo, “Slow Dying Places” [Huume]
10. Wouldbenice, “Hallschlag” [Vidab Records]

Nate DeYoung:

01. Afefe Iku, “Mirror Dance” [Yoruba Records]
02. Sound Stream, “‘Live’ Goes On” [Sound Stream]
03. Zander VT, “Get Up” [BPitch Control]
04. Sascha Dive, “Deepest America” (Moodymann remix) [Ornaments]
05. DJ/rupture, Uproot [TheAgriculture]
06. Robert Dietz, “Shunsowers” [Cécille Numbers]
07. RSD, “Jah Way” [Punch Drunk]
08. C.B. Funk, “Subway to Cologne” [Story]
09. Los Updates, “Getting Late” (Luciano’s Getting Late remix) [Cadenza]
10. John Roberts, “Hesitate” [Dial]

Todd Hutlock:

01. John Roberts, “Hesitate” [Dial]
02. Sascha Dive, “Deepest America” (Moodymann remix) [Ornaments]
03. Ricardo Tobar, “La Otra Playa” [Traum Schallplatten]
04. Jaydee, “Plastic Dreams” (Audion Can’t Go Home Mix) [R&S]
05. Rolando, “Where Were You? (Dub Mix)” [Delsin]
06. Los Updates, “Pictures of You” (tobias. remix) [Cadenza]
07. Sound Stream, “‘Live’ Goes On” [Sound Stream]
08. Quantec, “Ray of Hope” (A Made Up Sound remix) [Echocord Colour]
09. Ricardo Villalobos, “Minimoonstar” (Full Session) [Perlon]
10. Lee Jones, “Safari” (Stimming remix) [Aus Music]

Will Lynch:

01. Lowtec, “Untitled 1″ [Workshop]
02. Sex Trothler, “Jus Your” [Wagon Repair]
03. Move D & Benjamin Brunn, “Moskow Arkestra” [Smallville Records]
04. Guillaume & The Coutu Dumonts, “A Strange Place of Mind” [Raum... musik]
05. Miss Fitz, “Colici” (Sascha Dive’s Dark Beat Mix) [Raum... musik]
06. Ray Okpara, “Loving Moonbuah” (Nekes remix) [Drumpoet Community]
07. Sascha Dive, “Black Panther” (Samuel Davis Raw Dub)
[Deep Vibes Recordings]
08. Peter Van Hoesen, “Liss01″ [Time to Express]
09. Markus Fix, “Bo Boston” [Cécille Numbers]
10. Bearweasel, “4 Weeks in Poverty” [8bit]

Colin Shields:

01. Luomo, “Have You Ever” [Huume]
02. Ricardo Villalobos, “Minimoonstar” (Full Session) [Perlon]
03. Recloose, “Catch A Leaf As It Falls” [Sonar Kollektiv]
04. Lowtec, “Untitled 1″ [Workshop]
05. Wouldbenice, “Hallschlag” [Vidab Records]
06. Donnacha Costello, “It Simply Is” [Minimise]
07. Move D, “Heidelberg Gals” [Running Back]
08. King Midas Sound, “Cool Out” [Hyperdub]
09. Mark E, “Fazer” [Sonar Kollektiv]
10. Silent Servant, “Violencia” (Function mix) [Sandwell District]

Sometimes I think electronic music, especially and techno and house, can be a sinkhole refuge of musical taste for musicians and music fans fed up with pop, rock and rap. Personally, I became increasingly frustrated with the stale state of contemporary rock, rap and soul in 2006 and fell in deep for house and techno. A lot of today’s producers as, well as its founders, were in bands before turning to the dance side.

Paul Frick had already traversed many a genre before releasing his debut, “Do Something EP,” on Kalk Pets. While producing two hip-hop albums and performing in salsa, heavy metal and jazz groups, Frick studied classical composition under Friedrich Goldmann at Universität der Künste Berlin and later composed experimental string pieces. Still, it’s his house material which lead me to investigate beyond the lonesome entries on Discogs. In addition to the tightly-laced and bumping “Got the Blues,” Frick’s house Myspace features three new promising tracks soon to be released on Barcelona-based label, 30porumalinha (LWE highly recommends “Tiki Tiki”). Another tune favorite tune, er, “Favourite Song,” will even be included on a split with Frivilous and our boys, dOP. Keep your eyes peeled for this promising platter at your favorite music retailer.

Frick also compiled a DJ mix which includes a few of his tracks and recent favorites which is quite good, especially for a guy whose other music career is in chance musical experiments. Warning, cuts off suddenly.

Download: Paul Frick, “House Got Soul Mix” (41:26)

Tracklisting:

01. Paul Frick, “Do Something” [Kalk Pets]
02. Curv, “Scrabble” [Vinyl Vibes]
03. DeWalta, “Eftive” [Meander]
04. Guillaume & the Coutu Dumonts, “Sous l’arbre” [Circus Company]
05. Soundstream, “Good Soul” [Soundstream]
06. Anna Kaufen, “Who Cares” [A Touch of Class]
07. Rhythm & Sound, “Free For All” (Soundstream remix) [Burial Mix]
08. Wighnomy Brothers, “Guppipeitsche” [Freude am Tanzen]
09. Antislash, “Soloport” [Circus Company]
10. Paul Frick, “Got The Blues” [Kalk Pets]

+Also+

Get Physical’s toddling two-year-old sub-label, Kindisch, has built its first website, how cute. They’ve also assembled a little best-of retrospective mix (crayon tracklisting, backwards letters, totally adorable) you might enjoy.

Download: Kindisch, Child Proof 2 Year Mix (62:00)

Tracklisting:

01. Raz Ohara, “Witmey Na”
02. Vita, “Mare Mare”
03. H.O.S.H., “White Elephant”
04. Daniel Mehldhart, “January”
05. Jay Haze, “Soul In a Bottle”
06. The Skull, “All You Booty Shakers”
07. Einzelkind in bed with Douglas Greed, “La Belle”
08. Samim, “Circles”
09. Einzelkind, “Maferefumeco”
10. Gavin Herlihy, “Opium Haze”
11. Matchbox, “Upehd Ah”
12. Riva Starr, “War Drums”

(post by Steve Mizek)