As skilled as he is at every facet of electronic music production, Tobias Freund has never needed to rely on flashy, freaky personality gimmicks to make his mark. He’s as capable of knocking out a club-shaking banger as a mind-bending synth experiment, which has kept him in great demand over his 20+ years in the game. His first full-length under the tobias. moniker is characteristically unflashy as well, even as it flits between genres and moods with practiced ease. This week’s download is an alternate take of “Free No.1,” one of the album’s many highlights. “Free No.2″ is only slightly different from the released version, five-and-a-half minutes of tense broken-beat techno. Its machine rhythms skitter through drifting, complex chords that are dispersed with sharp synth stabs. It’s a throwback to the melodically and rhythmically diverse techno of the early 90′s but it feels just as home in 2011. Our thanks to Mr. Freund and Ostgut Ton for making this gem available.

tobias., “Free No.2″

[Perlon]

It’s testament to the strength of the music coming out of the Perlon camp that the label who ushered in the wave of micro-house and minimal that washed over the entire electronic scene is still going strong, long after the heyday of those genres. But then, even the Perlon records that epitomized minimal still somehow managed to stand apart from that very category. Eleven years on from the first Superlongevity compilation, which featured just eight tracks over two pieces of vinyl, the fifth chapter in the series boasts no fewer than 28 exclusive tracks and a box to house the seven pieces of vinyl it’s spread across. The compilation is also available on CD, though as it is only available mixed, the true rewards for this weighty box-set lie in the quality rich analogue format, something the Frankfurt born label have always been adamant about preserving.

With such an overwhelming amount of music to digest (like Ostgut Ton’s Fünf release) it would be easy to do the comp a disservice by not allowing the tracks penetrate past the surface of the mind. At first contact there is the immediate, characteristic Perlon sound at the fore; intricate and percussive-led tracks that radiate with the brittle crackle of a fire reduced to embers. But further inspection reveals there are almost as many sides to the compilation as there are tracks and there are pockets of deeper feeling inherent in these productions, a real warmth that sinks in past the initial contact. The all star line up of contributors that stretches back to the earliest days of Perlon — from label owner Markus Nikolai to Dimbiman, Pantytec, Narcotic Syntax and Ricardo Villalobos through to newer signings Cassy, Shackleton, San Proper and Portable, represent both the history and the future of the label.

One of the striking things about this behemoth package is just how cohesive the whole thing is. Save for a couple of exceptions — notably Shackleton’s typically on-point, esoterically free-flowing “Paper Throne” and the rambling, heedless mathematical glitch of Villalobos’ “Guaguay” — the tracks pass easily and logically from one to the next. The quality of the tracks is also exceptionally high, with only the aforementioned “Guaguay” and Fumiya Tanaka’s “Sorry Cucumber” really feeling like they failed to hit the mark, both suffering paradoxically from an indulgent sense of minimal verbosity. Elsewhere though, STL’s “Lost Somewhere” sounds like a zero-gravity exploration to the outer reaches, needing only a small handful of sounds to create an ethereal, haunted atmosphere with all of the grain, texture and depth that is endemic of his productions. The static heavy “She” by Tobias is also one of the many highlights, sketching out spacey, echoing keys over a distorted, broken beat and a plummeting bass line.

Soulphiction provides ample amounts of kinetic groove with his jazz infused “Circulate,” while Half Hawaii (Bruno Pronsato and Sammy Dee) serve up one of the sweetest, skewed house vocals in recent times with the infectious “Bring Back the Love,” sending Caro’s honey-rich vocals breezing over a warm, mechanical house groove. It’s not the only vocal moment to grace the comp either; “Magnificent Cat Won’t Do” finds Cassy in a late night, laid back mode, fleshing out her vocals more than she has done on her more recent records, and Portable strikes a rich vein of 80′s inspired, melancholic synth-pop with the closing track “Keep On.” Sammy Dee and Pantytec hit the mark with their respective efforts, both producers pushing deep with excursions into the cerebral, minimal techno that has always exemplified the label’s sound. In saying that, there has always been a certain playfulness to some of Perlon’s artists that also shines through on their Superlongevity series. Whether it’s the cheesy, film score funk embodied in San Proper’s “Lady Cop,” Kalabrese & The Rumpelorchestra’s mojito sipping, island-life lounge of “The 2010 Kitchen Session,” or the ethnic, plucked string finesse of Morane’s “Kalumpung A Kalimku,” it’s clear Perlon aren’t ready to take themselves too seriously just yet. Where other labels have foundered and become irrelevant well before they’ve clocked up as many years as Perlon, it’s refreshing to see Superlongevityfive shows that not only is the German imprint a long way from their use-by date, but they’re still releasing some of their best material.

Caravan’s dependable Julian Smith follows last year’s dark, bumpy “Say Again” with a second package for Perspectiv. Don’t let the title’s “Tool” cool your interest, though. While this may well be a brilliant record for brokering transitions in your next set, “My Left Tool” is also an autonomous pleasure and evocative journey of a record in itself. Sexy and hypnotic, October’s noirish, dubstep-flecked techno is a seamless pairing of steam-engine mechanics and animal growl. Dark, warm, and insular, the track nevertheless marches at a restless pace through an impressive range of territory over its twelve minutes. Probably the best testament to this track’s potency, though, is that October more than holds his own against his ferocious remixer.

I refer, of course, to Tobias Freund who, it must be said, has really let the dogs out these past six months. Treating us with a slew of remixes, he’s reinterpreted tracks from Nhar (Mobilee), Alex Under (Apnea), Franco Cinelli (Traut Muzik), D’Julz (Circus Company), Los Updates (Cadenza), and Russ Gabriel (Pariter). It’s a sturdy list, but his rework of “My Left Tool” is surely a contender for the best of this bunch. A complete overhaul of October’s original, riddled with ear-splitting power electronics bursts and acid squelches, this is more of an adrenaline rush. It’s similar to his own “Beat Study” tracks from last year, but this one’s a genuine chase-scene of a track. The pressure builds and builds, but release comes intermittently and gloriously with the ol’ train-speeding-past gimmick, channeling Kraftwerk by way of “Deer in the Headlights.” Just as he did on last year’s “Balance,” Tobias. calibrates this remix for raw, jagged snarl, crafting an undeniable banger.

[Diamonds & Pearls Music]

To anyone who’s been following house and techno recently, a split EP by Efdemin and Tobias. sounds like a sure shot. The former has delivered several years of ceaseless quality, while the latter had an especially impressive run in 2008. Both are at a point where it seems they can do no wrong. Unfortunately, “Phantasma Vol. 1″ disproves this notion. As the first installment in a series on Diamond & Pearls Music, it’s decent at best — more than can be said for plenty of releases in general, but much less than we’ve come to expect from these two.

Tobias. starts the record off well enough. “Clapper” is a lean and suspenseful big room track, with sinister synth cascades and a delirious sense of urgency that would work well in a long set. Nonetheless, it is distinctly less compelling than his excellent output from last year, and is unlikely to have the same staying power as anything from “I Can’t Fight The Feeling.” On the B-side, Efdemin’s contribution has fewer redeeming qualities. “Hope” sounds like a throw away track, consisting of little more than a decent beat and a nice bass line. It’s cut from the same cloth as “America/The Pulse,” but lacks the blue note allure that often makes Efdemin an exceptional artist. “Clapper” is worth the price of a digital download, but I’d recommend passing on “Phantasma Vol. 1″ overall, despite the names that appear on the sleeve.

01. Intrusion, The Seduction of Silence
[echospace [detroit]] (buy)
Dub reggae has long been the lens through which Stephen Hitchell (Soultek, cv313, Echospace) has interpreted techno music, and with the Intrusion project those influences step to the forefront of his production style. His gorgeous debut album, The Seduction of Silence, invites listeners to sway and even dance to an inviting 80 minute meditation on dub sonorities and rhythms. Its upstroked chords, rippling hand percussion, roving bass lines and exceptional vocals (provided by living legend, Paul St. Hilaire) are meticulously teased and stretched sans sequencer, conveying a very human warmth often suppressed in dub techno records. The Seduction of Silence is a fitting follow up to chilly ambience of The Coldest Season, as well as a much needed opportunity to thaw out in the dead of winter.

02. D’Julz, “Fleurette” (tobias. remix) [Circus Company] (buy)
Is there any stopping Tobias Freund’s streak of flawless originals and remixes? If his stunning take on “Fleurette” is any indication, there’s no end in sight. His most cheerful production in recent memory is jammed pack with aural sweets: a flattened, seesawing piano riff, snappy percussion of all timbres, gasping vocals, and rolling bass lines with articulated blurts of 808 bass. Absolutely dwarfing D’Julz simplistic original, Tobias’ remix feels effortless, dynamic and unlike anything else. If he has as good a year in 2009 as in 2008, we’re all in for a slew of top notch tunes.

03. Ben Klock, “Subzero” [Ostgut Tonträger] (buy)
As a prelude to Ben Klock’s forthcoming album, One, “Before One” is a smashing success, with four quality cuts all sure to ratchet up excitement for the debut full length. It’s difficult to choose a favorite from the three EP-exclusive tracks, but the subdued grace of “Subzero” wins by a nose. Klock crafts an enchanting progression and its harmonic twin to slide just beneath the skin, their path cleared by a flurry of brushed hi-hats, static crackle and distant, industrialized claps. And just when they threaten to penetrate and drench dancers in melody, scythe-like slices spin across the stereo spectrum and force their retreat. Another indication of Klock’s talent for detailed sound design and the most enticing lead-up to his album.

04. Portable, “The Shallow Final” [Musik Krause] (buy)
One of only two 2008 releases from Alan Abrahams’ Portable moniker, “The Emerald Life” is just as potent as his Perlon 12″ but arrived so late in the year it was all but overlooked. Its bombastic and explicit A side is a sure floor filler, but I have to nominate “The Shallow Final” for the superior side. It’s more of a deep-house song than a track, lifted buoyantly by soft pulses and sustained piano chords and led around by Abrahams’ soulful, double-tracked vocal narrative. And there’s grit to it, too, raw edges shaped by dense metallic percussion and a gruff beat. As “The Shallow Final” draws to a deconstructed close, you might just wonder how something this captivating escaped your ears. Don’t miss it the second time around.

05. The Village Orchestra, “Dwyer” [Stuffrecords] (buy)
This is the first record by The Village Orchestra to reach my ears, but it’s one that has me wondering what I’ve been missing. “The Dark Is Rising,” TVO’s latest, is a varied package including a peppy remix from 2562. “Dwyer” is the track I return to the most, in no small part because of its delightful contrast between multiple layers of frenzied percussion and widescreen placid tones. Despite the hectic rush the track never loses its cool, and even though it would never fit into my DJ sets I’d love to attempt airing it out. The space between techno and dubstep grows more attractive with each new release.

06. EQD, “Equalized #002A” [Equalized] (buy)
07. John Roberts, “Bodywork” [Feel Music] (buy)
08. Matthew Styles, “Palladium” [Horizontal] (buy)
09. Chaton, “+91 Ahead” (Agnès Kingston-Geneva Rework) [Plak Records] (buy)
10. Rustie, “Zig-Zag” [Wireblock] (buy)

Check out staff charts after the jump.

Staff Charts

Bill Bearden:

01. The Qemists ft. Wiley, “Dem Na Like Me” (King Cannibal remix) [Ninja Tune]
02. Maniac, “Salt Fish” [Earth 616]
03. Davinche, “What Is Mine” [Earth 616]
04. DZ, “Break It Down” [Badman Press]
05. Tinchy Stryder, “Rollin” [Universal]
06. Toastyboy, “On Something” [Halo Beats]
07. 2562, “Embrace” [3024]
08. Bar 9, “Murda Sound” (Cluekid remix) [Z Audio]
09. F-One & Kromestar, “Tek-Nik” [K Star]
10. Instra:mental, “Futurist” [Naked Lunch]

Shuja Haider:

01. Patrice Scott, “Far Away” [Sistrum Recordings]
02. Moody, “Hello 2morrow” [KDJ]
03. Scott Grooves, “Coco Brown” [Clone]
04. Delano Smith, “Cosmos Revisited” [Third Ear Recordings]
05. DJ Bone, “The Vibe” [Subject Detroit]
06. Theo Parrish, “Chemistry” [Sound Signature]
07. Tim Toh, “Three” [Philpot]
08. Kassem Mosse, “No Peace/No Love/No Unity” [Mikrodisko Recordings]
09. Mr. White, “Aeroplane” [Alleviated Records]
10. Anton Zapp, “Lovin U” [Quintessentials]

Todd Hutlock:

01. EQD, “Equalized #002A” [Equalized]
02. Intrusion, “Seduction” (cv313 Morning Dub) [echospace [detroit]]
03. Carl Craig & Moritz von Oswald, “ReComposed” (Villalobos “Uli, Mein Ponyhof” Rmx) [Deutsche Grammophon]
04. Ben Klock, “Subzero” [Ostgut Tonträger]
05. The Mole, “For the Lost” [Internasjonal]
06. IMPS, “Almost Live But Definitely Plugged” (Move D Remix) [Mule Electronic]
07. Sideshow, “Television” (ft. Cortney Tidwell) [Aus Music]
08. STL, “2 Deep” [Something]
09. Theo Parrish, “Chemistry” [Sound Signature]
10. Matias Aguayo, “Walter Nuff” [Kompakt]

Will Lynch:

01. Del Shannon, “Gemini” (Pilooski Edit) [Discograph]
02. Others, “Take 1/Take 2″ [Musique Risquee]
03. Flying Lotus, “Robertaflack” (Martyn’s Heart Beat Mix) [Warp Records]
04. David Pher, “Harare” [Glückskind Digital]
05. Anton Zap, “Groovin” [Quintessentials]
06. Wireman, “Armour” [Prime Numbers]
07. Leif, “Warm Shoulder” [Thinner]
08. Delano Smith, “Something For Myself” [Third Ear Recordings]
09. Seuil, “Dipsie” [Minibar]
10. Chardronnet vs Afrilounge, “Just For a Little Peek” (Gabriel Ananda Rmx) [Sportclub]

[Cadenza]

Los Updates’ First If You Please full-length has the distinction of being not only the first artist album released on Luciano’s Cadenza imprint, but also hands-down the most disappointing thing the label has released to date — an uninspired set of tech-house tunes dragged down like an anchor by Jose Gonzalez’ cringe-worthy lyrics and decidedly tuneless vocals. It even abandoned Cadenza’s normally gorgeous cover art. Thankfully, the remixes — first by Villalobos and Dandy Jack, and by Tobias and Luciano on this outing — have managed to redeem things to some degree.

Tobias takes on “Pictures of You” by reducing things to a minimal level, running an unadorned but driving techno beat and a handful of random noises (twisted guitar notes, rewinding tape, etc.) around Jose Gonzalez’ love-’em-or-hate-’em vocals. The magic really happens, however, when Tobias skillfully deploys a teasingly brief amount of bass line, just barely enough to give you the hint of where the groove should be. Many may be ready to usher “minimal” out the door at the moment, but as with any musical style, when its done well, it still works. Tobias does it well.

Luciano’s 15-minute take on “Getting Late” reflects his growing fascination with the deep-house sound by keeping things sparse and dark from the get-go, with a swerving synth loop and a simple bass drum the only accompaniment to Gonzalez’ vocal line for the first few minutes. But the gradual introduction of layer upon layer of extra percussion — including a snazzy hi-hat that really pays off when it finally kicks in — soon brings the mix into familiar Cadenza territory (and helps to drown out the rather banal lyric as a bonus, though it is repeated about three times too many throughout the run time). This is surely a fine mixing tool, as displayed in Luciano’s Fabric mix a few months back, but it never quite seems to reach its full density. While both tracks are distinct improvements over the originals with both producers in fine, if not exactly inspirational form, the Los Updates chapter of the Cadenza story is one best closed quickly.

For our third report, LWE correspondent Will Lynch compiles his top five live PAs from the first half of 2008.

One of dance music’s most unique features is the elasticity of the artist’s relationship with their own material. Plenty of producers never “play live” and use DJing as their exclusive means of performance. A producer may spend months sweating over the next EP, but the task of DJing is all about best suiting the vibe at that moment, which usually means playing someone else’s work. Then you’ve got your producers who mingle handfuls of their own tracks with dozens by their peers, making it damn near impossible for anyone in the audience to know who wrote what. While this makes a night out at the club much less predictable than a rock show (where the band is obligated not only to play their own songs, but often to favor their most recent material), it is nonetheless refreshing to hear an electronic artist play a set of his own work exactly how he or she intended it to be played.

There were some tough runners up to this list. Having seen Bruno Pronsato deliver a truly strange and groovy set at Panoramabar last December, it was hard not to include him here, but none of the recordings I’ve heard do justice to my memories of the night. Rummage through mnml.nl a bit and you’ll find a zany set by Donk Boys, which was another strong contender for the list. But after much listening and consideration, I’ve decided that these five are my favorites, mostly because they showcase the style and repertoire of each artist so well. If there’s an artist on this list who you’ve yet to hear, this would be an excellent place to start. So, without further ado, here are, my favorite live P.A.’s from the year so far.

01. Tobias @ Watergate
The idea of grooving to this one within Watergate’s eye-popping décor is enough to make me salivate. And I’m pretty sure that “Street Knowledge” sample is from NWA, which is pretty badass.

02. Click Box: April Live Set
These Brazilian techno hooligans have an aggressive and melodic style that sounds really fresh to me. Magda slayed with these tracks at Timewarp, and was still spinning them when I saw her in New York this June. Can’t wait to get my hands on a few of these bad boys…

03. Mikael Stavöstrand @ Watergate
As I’ve said before on this site, I love this guy’s style. Much like his releases, this set has grim overtones to contrast its lush, balmy textures. Funky, too!

04. Move D @ Robert Johnson
These two hours glide through some of the best moments of David Moufang’s exquisite discography, to predictably sublime effect. Very smooth and gentle, this is perfect to put on first thing in the morning. Highlights include a slimmer rendition of “Between Us” and perfectly serene closer (which is, incidentally, my favorite track by this guy).

05. Elon @ Old Cave
This guy gives Heartthrob a run for his money. Slamming bass, hard, steady beats and totally evil overtones — it’s hard not to have fun with this one. My favorite bit has to be when he works in a house vocal cliché without diminishing the gloom one smidgen (but I won’t give it away).

01. Ben Klock, “October” [BPitch Control] (buy)
No rest for the wicked, it seems, as Ben Klock drops another heavy one on fans with “October.” Like a ghost in an aggressive, pounding machine, the title track’s melody billows upwards and is zapped into place by laser precise synth strokes. “Similarity” relishes its unadorned percussive charges, awaiting another record to double its size. Snap this up.

Listen to “October”:

02. Bruno Pronsato, Why Can’t We Be Like Us
[Hello?Repeat] (buy )
It’s going to be difficult for me to concisely articulate how much I love this experimental house album and why, but suffice it to say it surpasses, nay, decimates all my expectations of what Steven Ford’s songwriting capabilities. Unlike This Bliss or Honigpumpe, let’s keep this one floating down a stream of praise until year end list time comes around again.

03. Hercules & Love Affair, “Blind” (Hercules Club Mix)
[DFA] (buy)
“Blind” is such a ridiculously well crafted, memorable tune that I can already imagine this being crowd surfed into a crossover crowd and yet not being shunned by first adopters. Andrew Butler gets Antony to perform at his troubled soulful best as the diva icing on his gorgeous arrangements. Frankie Knuckles remix womps as well. Future ubiquity.

Listen:

04. Andreas Heiszenberger, “Perfect Moment” (Efdemin’s Creme de Cramant Mix) [Brut!] (buy)
I find myself drawn even more to Efdemin as his love for repetitive dub techno grows more evident in his tracks and remixes, and this one is especially easy to be enamored with. Crisp drum work, ear-hooking dub peals and Efdemin’s enviable sense of order and structure make this one a must buy for his growing league of admirers.

Listen:

05. Daso & Pawas, “KKB” [Spectral Sound] (buy)
Only available on Spectral’s Dintf iEP, Daso and Pawas’ “KKB” stands out from the rest by being decidedly maximal to his peers’ minimal and a touch grand without taking itself too seriously. Built on the back of an old acid house groove and crammed full of struck melodic strains and regal pads, the track manages to be compelling while refurbishing some already popular sound sources — not an easy task.

Listen:

06. Efdemin, “Lohn & Brot” (tobias. remix) [liebe*detail spezial] (buy)

07. Jichael Mackson, “Piepe” [Hartchef Discos] (buy)

08. Andomat 3000, “Cognitive Dissonance” [Cécille Records] (buy)

09. Roland Appel, “Unforgiven” [Sonar Kollektiv] (buy)

10. Chevy & Lemos, “Woman’s Key“ [Be Chosen] (buy)