Incident Prism has built a respectable amount of followers already with only having had an official split-EP release together with Tim Tama on Obscuur Records. Apart from that he is mainly known for his self-released tracks on Soundcloud – of which most of them do really well. A remix for a previous release of ours by Torgue was played by Remco Beekwilder during one of the highlight nights of 2018’s ADE by Intercell in the infamous H7 warehouse.
Unlike a lot of French artists who chase a similar style and trend, Parisian Incident Prism seems to go for a more authentic sound. The red thread that runs through his tracks would be storytelling built with a lot of rhythmical components. By applying just the right amount of drive to give harmonics their warmth is what makes his sound design appealing to us, refined with a hard edge. In this podcast you can hear none other than fast-paced groovy techno for 57 minutes long.
If there is someone who can mix techno like a form of synthetic jazz, then that would be Binny. The underlying funk and soul in his selection of music seem his timeless unique selling point. In his mostly towards the dance floor aimed productions he draws inspiration from Jeff Mills, Robert Hood, Juan Atkins, Derrick May to name a few. Nowadays this ‘detroit’ style of fast techno is a fresh breath in current scene, where the attention lays on influences of trance and where groove is at times a bit lost.
The recording used for this podcast was made during a Märked club night in Radion in Amsterdam on November 24th 2018.
Tune in to an hour of intense tempo, unapologetic techno.
With only an estimated production history of a little over 3 years WarinD has already brought value to the fast techno scene. Over this period of time multiple releases – of which some pressed on vinyl – in the category of abrasive, hypnotic, melancholic and industrial have been put out under strong labels like Khemia, Instruments Of Discipline and Overdraw. Not only is he working on his own carreer, but also puts effort in supporting underground talent under his own imprint WarinD Records. It’s a good thing that labels with exposure use their reach to lift unknown artists to the surface.
A selection with a target: stimulate the listener to look around, and not just stick to the things you know and love.
Hypnoskull is the project created in 1992 by Patrick Stevens (Bel/Ger) and is rooted partly in the industrial/noise and the rhythmic/techno corner. His current livesets in the clubs of Berlin, Paris, Beirut, to name a few of the cities he played this year, are full force rhythmic assaults, abrasive, rough and elemental. In 2017 he created the anti/techno concept, partly a label and platform to oppose against the corporate takeover of once underground music styles such as techno – where values like diversity, open mindedness, freedom (artistic and on personal levels) were the keys to in the first place get a music style like this started from nothing. Because of this, even deeper in the underground, the ‘golden coin’ of f.e. industrial techno is tossed around for a couple of years now, and gets the same treatment in more popular-oriented clubs, resulting also in a rise of new young producers who go full force into this ‘bastard-style’. Some of the new producers are simply great, some don’t get the point.
‘Industrial’ does not mean solely ‘put a distortion on your drummachine’. Patrick Stevens was one of those first producers who started to incorporate noise and an anarchist industrial approach into dance music. From 1994 up to 1997 he was producing techno and played on various raves as well as in the deep underground of the noise/industrial scene. Releasing on the infamous German label ant-zen, being part of the legendary Maschinenfest (from the start in 1999 up to 2018) in Germany, being coined as one of those people who started the whole rhythmic noise genre in the mid to late nineties, he brings a podcast for us which is not just a relentless 4/4 assault, but a mixture between atmospheres, from harsh to almost silent, but dark – presenting a selection which shows his personal history ever since 1992 up to now – a selection with a target: stimulate the listener to look around, and not just stick to the things you know and love.
The new full album by hypnoskull –‘the manichaean consciousness’ will be released in november 2018, on German ant-zen records. Furthermore there will be collaboration e.p.’s with 14anger and one with D.Carbone, as well as several remixes on various labels. Pictures used were made exclusively for the album by Ira A. Goryainova.
The music of the future can be found in the music of the past.
As a resident of one of Amsterdam’s most progressive queer parties, Spielraum, KI/KI has already made her mark while being fresh to the scene. Spielraum – as the name would suggest – would probably be closest to an experience you would stumble upon in Berlin’s night life around Ostkreuz. That same playfulness and open-mindedness was very much felt during our visit to Spielraum’s last edition in Radion Amsterdam with KI/KI behind the decks.
So is KI/KI’s style of playing; blending several styles within the boundaries of techno to EBM, to rave and classics – with most of it being non-contemporary music that was released some time ago.
KI/KI: “The music of the future can be found in the music of the past.” The best pieces of music all seem to have a certain nostalgic touch to it. That music brings back moments or feelings of recognizability. This mix features a classic by Knarz and Phil Kieran’s remix of Nitzer Ebb for example. Sit back and enjoy an hour of time-bending sexy tunes to get you warm for the weekend already.
Swords, organs and choirs for maximum impact on the dancefloor
Cinematic and heavy-mooded soundscapes backboned by thumping kicks and rattling percussion. Also typical elements in the role-playing world like swords, organs and choirs are heard in the productions of Shadowcomplex. Similar sounds appear in the soundbank of Aufnahme + Wiedergabe artists, what resulted in having Shadowcomplex’s track ‘00007’ played by Ancient Methods at Amsterdam Dance Event 2017.
Shadowcomplex grew up playing drums with punk and metal influences of that time. By gradually having made the transition to electronic music he found himself exploring his own true sound over techno, industrial and experimental music. Through his releases on Variant Electronic and RND. records he showed a lot of versatility, but all comes together in his towards EBM leaning excursions.
In this mix mainly contemporary techno is used, of which many tracks from the label that fits his style well; A+W. One last thing to mention is that the last track is due to be released on one of Shadowcomplex’s own future projects together with a friend.
Dashes of groove and funk, with a smile to ‘Birmingham’ style and older techno.
Being one of the guys that brought the reputable label Toxic Waste Buried (and himself) a head start with one of his first official releases in November 2015, Rezystor could be described as a producer who has been putting out quality before the two-year span where many new faces have entered this niche of techno and tried to shape it.
Roland is based in Cologne and his style reaches wide across the spectrum, touching trippy and minimalist hypnotic techno and punishing 5-am material. In mid 2016 Roland featured on T/W/B again, remixing MOTH for their highly anticipated debut EP. There he shows how well he executes making a complex and surprisingly organic-sounding groove.
Almost a year later in 2017 his first vinyl drops on T/W/B, genuinely showcasing the aforementioned broad production style with remixes by heavy hitters Binny and RENDERED. Hear how his vision on techno has established in 2018.
Ike Dusk: over 15 years of experience put in 78 minutes of adamant techno.
In comparison to other countries in Europe, Germany seems to shelter a lot of artists who have matured in the techno scene. As well as Ike Dusk who has been around for over 15 years, playing at regional parties that earned him recognition and respect in the local scene. Only just steady producing since 2013 from which his first official EP appearance landed on Utrecht’s Obscuur Records in 2016. There he first showed how his production technique and diversity goes hand in hand with his continuous creativity.
When one gets recognition for razor sharp productions JoeFarr might come to mind. That’s when Ike Dusk joined forces with Joe in 2018, after having won a remix competition for his track ‘Don’t Be Afraid’. Only short after, ‘Interference’ was brought to daylight on Joefarr’s label User Experience with great support by respected artists like Surgeon, Tommy Four Seven, Paula Temple, Rebekah, Thomas P. Heckmann, Manni Dee and I Hate Models among many others.
Where all sorts of acid meets industrial techno to the point of new genre-defining heights.
Jacidorex from Brussels is a pioneer of Neoacid, which he describes as a mixture of all kinds of acid, industrial techno and even dark electro. In a small interview we speak to Simon about some hints of the past and the music he makes today.
Hey Jacidorex, tell us something about yourself. Where did you grow up and how/when did you get into making techno music?
I was born in Brussels and I grew up in Silly, a small town between Brussels and Lille. As long as I remember, I was always interested in music. I began to play the piano at the music school, then my soul mate Mehdi showed me fl studio, so I began to produce electro, dubstep and then drum&bass. In June 2013, after seeing Jeff Mills, Blawan and Len Faki at Dour Festival, I wanted to produce techno, but I wanted something a bit harder. A month after, I listen to Korps Mekanik Liveset of Mr. Gasmask for the first time. My unconditional love for acid & techno was born.
What does techno mean in the city you live in and how does that affect you? Would you like to see things differently?
The techno scene in Brussels is not that developed. There is barely any big warehouse. But we ‘ll try to work on this for the next few month/years.
How does your sound come together and where/who do you get your influences from?
I’m really influenced by Mr. Gasmask, Gesaffelstein and Dax J. I think that my music is situated between acid, techno, hard techno but also dark electro or jumpstyle. I try to make hypnotic banging hard music with a lot of acid influences.
When composing: do you start with kicks and percs, write a melody or build a synth first? Is there anything you like making in particular, or get most satisfaction from?
I don’t have any rule for producing; it really depends on my inspirations. Sometimes I have a melody or a structure in my mind and I begin to write in on my software. Sometimes I try to make a new kick but finally I change the bpm and I do something really different. What I really get satisfaction from is to reach the ambiance or the atmosphere I had in mind. Actually, it’s really difficult to make sound what you have in mind like it sound in your mind.
What is your opinion on hardware versus software? What does your studio look like?
For me the best is to use it together and use the advantages of the two. Hardware has a unique sound and this analog touch feeling. On the other hand, audio treatment like bass resampling of multiple automation are impossible with hardware, this is why it’s also really interesting to use software. It’s also essential to have a varied structure.
Your first more techno-based J. Rex alias release was on December 17th 2015, while Jacidorex was already around in late 2013. How would you say your sound and ideas have evolved since then?
I think my sound is more precise than before, and I’m better at doing progressive tracks. I also have a better sound design, but I still need to improve to make what I really have in mind.
What was your idea behind the recording of the podcast?
Showing the scene in which direction I’m going for the moment, because it’s been a while since I haven’t been releasing any podcast. I play a lot but I don’t release the quart of what I’m producing. I think I wasn’t ready. Now I’m about to be.
Rolling basses and highly effective German club techno by SDB
With only two single track releases on his name under record labels FBM Roster and Manifesto – plus a bunch of unreleased tracks on his Soundcloud – up-and-coming SDB has already had a sweet spot on Nur Jaber’s Boiler Room set. We asked him for some techno-related insights in a small interview and invited him to record a mix for our thirteenth podcast.
Hey SDB, tell us something about yourself. Where did you grow up and how/when did you get into making techno music?
I grew up in Saarbrücken, the capital of Saarland in Germany. I got into producing techno at the age of 18 after experiencing it in the clubs of my hometown.
What does techno mean in the city you live in and how does that affect you? Would you like to see things differently?
The techno scene is very alive in Saarbrücken with many different capable artists coming up. It’s a great breeding ground for young performers.
How does your sound come together and where do you get your influences from?
I listen to a ton of electronic music of basically all genres that influence my sound, mainly techno and wave.
When composing: do you start with kicks and percs, write a melody or build a synth first? Is there anything you like making in particular, or get most satisfaction from?
I always start by building a kickdrum and a complete drum pattern from there, then I go to the synths.
What is your opinion on hardware versus software? What does your studio look like?
The two different things enable two completely different workflows that I both enjoy. I like to get lost in building complex patches and huge fx chains in Ableton, as well as just jamming on machines like I do in the “Aviron” project with my buddy Nils Iven. For my SDB productions I use Ableton and Max For Live with my Push controller, nothing else.
What was your idea behind the recording of the podcast?
The idea was to create a coherent mix of mostly unreleased own productions to build a unique sounding podcast.
