Having crossed paths previously in remix form when Martyn remixed Shed’s “Another Wedged Chicken” to great effect, Pawlowitz is perfectly positioned to return the favor under his bone crunching Head High alias on a new single released by 3024
In this incredibly candid interview, René Pawlowitz — best known to the world as Shed — filled us in on his typical creative process, his misgivings with the general state of techno, and the burden of having a moniker that sticks.
Today London’s beloved superclub, Fabric, announced that it’s house is once again in order and banished woeful tales of administration. In case you need proof that it’s business as usual, check out the line up for July 3rd: Room one hosts The Nothing Special, with live performances by Shackleton, Pole, and Deadbeat, and a DJ […]
If Luke Slater’s Temporary Suspension reminded us anything, it’s that the rough techno waves being made by your Dettmanns and Levons are not without precedent, and that techno veterans are keen to be still be part of the sound they, in many ways, defined. For every Delta Funktionen or Frozen Border looking to offer their new take on techno there’s a Regis, Robert Hood or James Ruskin picking up the 909 again and getting back to work. Ostgut Ton chose Hood and Kenny Larkin to remix Ben Klock; and so, in a sort of antisymmetry, they choose some of the most influential producers of the past couple years to remix one of the 90’s more influential figures.
It’s easy to gloss Rene Pawlowitz’s essential Shedding the Past album for Ostgut Ton last year as an exercise in purity through genre affiliation (in that instance, industrial-strength techno). Yet I suspect the man — recording variably as Shed, EQD, Wax, STP, and Deuce (with Marcel Dettmann) — believes less in adherence to a particular beat structure and compositional strategy than in finding club music’s future in a raw envisioning of its past. How else can Pawlowitz’s instantly recognizable sound (bass boom + sharp synth burst = swift Armani Exchange model genocide) wend its way through steely retro house (Wax’s “20002B”) and soulful dubstep (his Shed remix of Peverelist’s “Junktion”), all the while keeping the fire of true techno music better than any of his more clear-cut classicist Hard Wax associates?