An already established producer as Shed, Rene Pawlowitz has utilized several different aliases as outlets for his wide-ranging urges. The Equalized series has thus far been home to ethereal breakbeat epics, less polished versions of the techno workouts on his debut album Shedding the Past. At first, no one knew for sure who was behind these mysterious Hard Wax-distributed singles that quickly took the underground techno world by storm. Of course, the cat has been out of the bag for the better part of a year and now that it’s established Pawlowitz is behind these records, is there a point to even releasing them in this manner anymore? Given the fragmented experimentalism of second album The Traveller, maybe there is, but regardless, continuing the Equalized series feels more like clever marketing than anything else.

Those first few releases felt like events, especially with the alluring cloak of anonymity. Not only heaped with critical praise, the EQD (and WAX) releases have been utilized by many prominent techno and house DJs at some point in the past couple years. But somewhere along the line their specialness seemed to fade; the release of Equalized #004 hardly came as a surprise, and neither does the music buried in its grooves. The A-side is one of the trackiest things to come out of EQD, a hissy, barely there breakbeat floating in suspension over a defeated, lifeless thump. The B-side is marginally more interesting, where the breakbeat sounds like it’s dangling from a string. It never quite lines up with the kick, and the way it swings back and forth microscopically and seems to miss by mere milliseconds can be equally enthralling or infuriating. Pawlowitz drapes it in quivering loops and double-tracked percussion, building a sweeping atmosphere unnoticed while listeners are fixated by that slightly askew beat.

The fact remains that neither of these tracks are as exciting or structurally interesting as Equalized #002’s heavenly B-side or the mutant funk of #003. They loop and loop and loop some more, with even the steady build on the B-side quickly turning monotonous. There’s no doubting these tracks would make fine tools to bridge between tracks during a set, but taken alone there’s something missing, a deficiency nowhere to be found in previous EQD material. This, along with the third WAX from earlier this year, are the first times Pawlowitz has ever sounded as if he were on autopilot. While it’s still decent, at this point we know he’s capable of much more than decent work.

Mix Subas - Techstylism Special! (2010.11.27) by Mix Subas on Mixcloud

+ This Saturday, November 27, Techstylism visit the Opus 3 Subas broadcast mix. The first hour we'll talk about Techstylism present, history and future. The second provides for an hour "live" Daimon mix directly from the Opus 3 studies. Shows start 16:00


++ Šį šeštadienį, lapkričio 27, Techstylism lankysis Opus 3 transliuojamoje laidoje Mix Subas. Pirmoje valandoje kalbėsimės apie Techstylism dabartį, istoriją, ateitį. Antroje valandoje numatomas "gyvas" Daimon miksas tiesiai iš Opus 3 studijos. Laidos pradžia 16:00

When Paul Rose unleashed his SCB alias with a techno remix of his own Scuba tune “Hard Boiled,” it was the techno/dubstep combination taken to its logical extreme: a dubstep producer making actual techno. The result was an intriguing track that made a convincing case for the impact of Rose’s move to Berlin, and it fit quite comfortably with the Marcel Dettmann remix accompanying it on wax. As if to prove it wasn’t just a fluke, Rose has been tenacious as SCB, playing sets and releasing original tracks under the banner. Where SCB separates from Scuba, things get tricky: when Rose remixes dubstep tracks, he has a platter of unique and unusual sounds to graft into his techno. Remixes of “Hard Boiled,” Mount Kimbie’s “Vertical,” and George FitzGerald’s “Don’t You” all incorporated signature elements from those songs into a jacking 4/4 structure. But when he’s building tracks from the ground up, without the thrill of twisting dubstep into liquid techno, the results can fall flat.

he key to Rose’s music as Scuba lies in his uncanny grasp of empty space and vast reverberation, but there’s not nearly as much room to breathe in his techno material. The issue which surfaced on the first SCB release is not as prominent on the second, though that’s primarily because we get another version of “Hard Boiled.” A remix of a remix. This VIP feels more like a do-over, but Rose’s increasing ability — practice makes perfect — justifies any redundancy. Disruptive sound effects and transplanted elements jutted out in harsh angles from the original SCB edit of “Hard Boiled,” a problem nowhere to be seen in the smooth, polished surface of “Hard Boiled VIP.” Slight syncopation prevents trackiness, and every element seems to be in some state of forward motion, pads hurriedly overtaking each other and occasionally breaking out on their own into blissful histrionics. On the flip is another original SCB track, “28_5,” which stays low to the ground for a paranoid bass-oriented workout that sounds more Birmingham than Berlin. A little too low, in fact: Rose keeps the pace blinding with vocal samples fighting their way up through the hectic fervor below, but instead of the blissful ascent of its flipside it drags on the rocky ground. Rose is still somewhat of an outsider looking in, but there’s no denying his techno is growing stronger by the day.

Silent Servand @ Tresor 1998 mix.

 

We dont edjucate but i guess it is a nice thing to get back about 20 ears and litsten to pure music. As we can't give you a old techno mixes @ CLINICAL 25, we hope to find and give you a classic mix from the early 90's right here. First was "Authentic Music", now it's time for Silent Servant 1998 mix, recorded live at Tresor.

We hope you enjoy. For tracklist just contact us by email.

Promomixes-008a-silent-servant by Deelorea

 

Klaipeda, and again has started the new music business. Soil from the underground sprouts tentatively Redubtor Records imprint contours. The new record is still unable to enjoy the organization has committed a surprise in the winter all the Detroit techno fans of the first edition, but until then its frequency waves and send monthly installments parties.

"Our exquisite sound of the word can describe the space - profess the old, the pristine sound of techno, which is in keeping with some modern style sounds - the concept Redubtor Records, tells all of the initiators - The purpose of publishing records - to promote the sound of Lithuania, which currently the music fits us to a very few Lithuanians, but we hope that with time the event was born, and a greater interest in the new techno producers. "

Publisher launches its business mix. Each month Redubtor publishes podcasts, presenting unique selection of various artists. The first place the techno drum & bass Chipak representative of Klaipeda, deep sound, full of prepared mix, which like all other future can be achieved through OreCast Work. The second part is developing an electronic music pioneer known as the MOJ.

First, the author of the month of October Podcast - N. aka DJ Chipak. This is the man who plays the electronics that no one outside Except - no slower than 170 bpm speed.

Redubtor Podcast 01 Mixed by Chipak by chipak

Skudge’s rise to prominence in 2010 has been equally startling and exhilarating. On first blush, each of the duo’s releases on their self-titled label consists mostly of straight forward, club-friendly techno that lacks some of the novelty that would afford them essential heft. Spending more time with the records, however, reveals more of the pair’s character in their relatively stripped back productions, allaying some of my wariness over their new found popularity. It’s actually not terribly surprising that audiences and artists have cottoned on to Skudge’s tracks, which are tough, do not rely too heavily on nuance, and are subsequently well suited for being piped through a substantial PA. But can their generally spare outlay of elements earn the same level of admiration when heard up close? On Overture/Mirage, the duo’s fourth single, the answer is increasingly yes.

Without too many moving parts to arrange, Skudge concentrate on making each one count. The resonating, two chord melody at the core of “Overture” mutates and intensifies just enough to keep listeners wondering what the next bar will sound like. Just as crucial is the battery of slate grey percussion, like the jacking claps on 3 and 4, and blunted bass notes that add tone color as well as ballast. It’s a sound that seems keenly attuned to old school production techniques without simply repeating their results. “Mirage” feels more slender and swinging than its flipside, working its muted tonal palate between dusty shakers and pinging hi-hats with all the dexterity and playfulness of a house track by the Mountain People. Perhaps this single isn’t as “essential” as something by Mika Vaino or the like, but it does offer evidence that Skudge are evolving in a positive direction and more than earns its space in DJs’ record bags, if not untold torrents of hype

Celebration of real techno EP realice at Lithuanian netlabel Called PRTYZANAI.
Calli - acid from nowhere EP, officially realised at partyzanai party called "+++".
All District F team are sending best wishes, and to all techno freaks
you can download this realice for free, directly from www.partyzanai.com enjoy.

 

Phil Kieran has been working hiss ass off touring as a DJ, releasing albums (SSH is excellent by the way) and working hard on setting up and new label (Phil Kieran Recordings).

This year has already been very special for the Belfast-born DJ/producer with the release of his mammoth album, SHH, on Cocoon to critical acclaim, and a successful world tour which debuted his forward thinking live AV-sets in some of the biggest clubs around.

But Kieran didn’t want to rest on his laurels and so decided to lock himself back in the studio for weeks and put together a large amount of fresh tracks for some labels he has admired for a number of years - including Snork Enterprises, Electric Deluxe, International DJ Gigolo and of course Cocoon that have just signed a new EP.

His high productivity led him to look forward to the project he has been wanting to put to bed for a number of years - Skyhook. Skyhook gained support form the Techno Elite with Sven Vath & Richie Hawtin using it as a weapon of choice for a number of years other supporters include Deadmau5 who has been using skyhook in his sets for years.

Originally no remixes of the chart smasher were made despite huge interest and requests from various people to rework the track, with the lack of a label to distribute them being cited as the main reason.

But finally, this demon has been put to bed and the gauntlet has been picked up by Jesper Dalhback & Adam Beyer, Ricardo Tobar, Scuba & SCB, Gree


The first release on this new label is to be a number of remixes of his classic Skyhook track some of which can be heard on this mix.

Terence Fixmer - Comedy Of Menace (Album, Electric Deluxe 010) preview by PullProxy

Tracklist:

1. Jens Zimmermann – White Treasures [Snork]
2. Silent Servent – Untitled [Sandwell District]
3. Phil Kieran – Empty Vessels [Electric Deluxe]
4. Phil Kieran – Bells And Spells [Snork]
5. Patrick Iyndsy – Dr Doese Wanderleigier [Snork]
6. Phil Kieran – Pure Tension [Snork]
7. Norman – Bouncer [Relax 2000]
8. Pfirter – Arcon [Stroboscopic]
9. Terrence Fixmer – Artifacts Drastic (Planetary Assault System) [Electric Deluxe]
10. Phil Kieran – Skyhook (Adam Beyer & Jesper Dahlback Remix) [Phil Kieran]
11. Phil Kieran – Skyhook (Ricardo Tobar Ambient Mix) [Phil Kieran]

Terence Fixmers Comedy of Menace has been announced for release on Jochem Papps Electric Deluxe label.

‘Comedy of Menace’ is Fixmers fourth Album. He already released two solo albums on DJ Hell’s Gigolo, the seminal “Muscle Machine” helped creat a masterful fusion between old style industrial/EBM music and techno (perhaps “Techno Body Music”?) As many will know Fixmer to this day has a side project Douglas McCarthy the legendary voice of seminal EBM band Nitzer Ebb (The Between The Devil album is a great chunk of dark aggressive techno tinged industrial). Terences third album, “Fiction Fiction” released on his own ‘Planete Rouge’ imprint in 2009 and veered far more towards deep ambience, emotive and cinematic by turns.

With ‘Comedy Of Menace’ Terence Fixmer has moved forwards towards a true blending of what he has learned from his previous projects, it has a pervading deep and dark atmosphere taking elements of minimal and the old school detroit sound and mashing it up with a more aggressive edge. This album is not for those who need it mellow and easy on the ears, but if you can stand your beats and sounds with a more aggressively sculpted edge then this is a tour de force we will be listening to a lot over the next few months.

As Fixmer explains: “I wanted that people can feel a soul, a story, and the sound of every track to open up the imagination of the listener, creating images in their minds… Its an art and a passion, my heart is bumping for electronic sounds. I love when the music is really coming from the heart of the machine, when the sound is pure and raw. Comedy of Menace suggests that although they are funny, they are also frightening or menacing in a vague and undefined way. Even as they laugh, the audience are unsettled, ill at ease and uncomfortable.”

I eagerly await Terences next appearance as a guest on the Electric Deluxe podcast as he never disappoints.

Album Preview Samples


Terence Fixmer - Comedy Of Menace (Album, Electric Deluxe 010) preview by PullProxy

Surgeon has been selected to mix the next edition of the London club's flagship mix series.

The techno stalwart has been at the forefront of dance music's technological shift to a more digital style of DJing, utilising Ableton Live to edit and layer his selections as well as rapidly moving from track to track. It'll be his first official mix CD since 2007's limited edition This Is For You Shits compilation on Warp, and those familiar with Child's booming and energetic sets will be glad to know that Fabric 53 follows much the same formula. Don't expect to hear strictly purist techno on the mix, however, as he's managed to fit in plenty of tracks from the dubstep sphere courtesy of Scuba, Starkey, Greena, Gatekeeper, plus some house and electro from Russ Gabriel and DJ Overdose.

Speaking about the mix, Child has commented that: "This is the music that I am enjoying and I feel it represents me; and on the other side, there were some newer or lesser known artists that I really wanted to represent. It's about making people aware of different genres, to show the likeness. It's taking T-Polar, Subeena, Ital Tek, Ancient Methods - and putting that next to Orphx, DJ Overdose and Russ Gabriel, and mixing them all up together. It's kind of strange looking at the tracklist, but for me it’s very natural the way these things fit together. And really, to me, this is all techno. That's the way I think of it; I don't subdivide genres, the beats are just slightly different places in the bar. They all have different feels and textures, but I don't differentiate, I just like all this music so I want to mix it together."

Tracklist:

01. Location recording from Kuramae Subway Station, Tokyo, Japan
02. Scuba - Glance
03. Surgeon - Bad Hands (Drums Only)
04. Marco Bernardi - Giro (Exium Remix)
05. Instra:mental - Forbidden
06. Forward Strategy Group - Applied Generics A
07. Reeko - Agile Movement
08. Surgeon - Bad Hands Part 2 (Drums Only)
09. Robert Hood - Superman
10. Planetary Assault Systems - X Speaks To X (Al Tourettes & Appleblim Remix)
11. Ritzi Lee - Black Star Ritual (Ben Sims Remix)
12. T-Polar - Crab People
13. Ital Tek - Spectrum Falls
14. Surgeon - Klonk Part 1 (Drums Only)
15. Subeena - Picture
16. Fran Hartnett - It Was Written In Vapour
17. Mark Broom & James Ruskin - Hostage
18. Stephen Brown - Stress Free
19. Ancient Methods - AM04B1
20. Surgeon - Compliance Momentum
21. Greena - Tenzado
22. Starkey - Spacecraft
23. Starkey feat. Anneka - Stars (Slugabed Did A Remix)24. Cari Lekebusch - Spindizzy (Luke Slater's L.B. Dub Corp Remix)
25. Surgeon - The Crawling Frog Is Torn and Smiles
26. Orphx - Threshold (Substance Remix)
27. Gatekeeper - Blip
28. Mark Broom & James Ruskin - No Time Soon
29. Russ Gabriel - El Juan
30. DJ Overdose - What

Journey. Umbrella. Cover. Porcelain. Omen. Night. Real. Agony. Run. Mother. Gangbang.

Hurts. Slovakian. Friends. Typical. Lumm. Satanic. Falling. Shady. Reasons. Boom.

Hurricane. Cannibals. Play. Hard. Show this. Evilspot. Session.

Tracklist:
01.Unknown - Slpvakian Porcelain (P Series)
02.Mark Mayu - Lumm 930 (Boris S. remix) (Frown)
03.Svetec - Umbrella (Animasola)
04.Sepromatiq & Golpe - Reasons of War (Animasola)
05.Svetec - Satanic Journey (Animasola)
06.Svetec - Show this your Mother (Crowbar)
07.Unknown - Omen X (P Series)
08.Motormorfoses - Hurts (Cannibal)
09.Buchecha & TRB - Real Friends Play Hard (Beast)
10.Albert Kraner & Salva Trucha - Run For Cover (Cannibal)
11.Svetec - Shady Plot (Crowbar)
12.Svetec - Boom (Animasola)
13.Sepromatiq - Meter (Cannibal)
14.Svetec - When the Night is falling (Animasola)
15.FL-X - Elocin (Cannibal)
16.Albert Kraner - Typical Shock (MTR)
17.Destroyer - Cannibals Gangbang (Animasola)
18.Stormtrooper & Waldhaus - Hurricane (ISR)
19.Broken Rules - Minimire It (IST)
20.Tymon & Stormtrooper - Agony (ISR)

 

Practi cally every piece I read on Marcel Fengler presents him as the criminally underrated underdog of the Ostgut Ton stable. He’s not there just yet, we’re told, but he’s well on his way. While I can’t wait to see him finally break out of this cycle of proto-hype, I tend to agree with this assessment. The guy can do battle with the best of them as a DJ, but his records — spritely techno built up from tense, twitchy loops — have yet to feel truly essential. But on his latest release, the Thwack EP for Luke Slater’s Mote Evolver imprint, Fengler feels like he might finally be leaping out of the whirlpool. Bigger, punchier, and more self-assured than his previous string of 12″s for Ostgut Ton, the Thwack EP doesn’t just sound like the work of a hungry young producer; he sounds like he’d eat the whole party sub at the coming-out soiree we critics finally owe him.

Released first as the B side track on the Red 3 12″ via both Deconstruction and ReLoad records and later on Clarkes first album Archive One this track was an underground smash from day one, it’s simplicity, heavy pounding kickdrum, reversed and slowly building synth line and the dark vocals supplied courtesy of an extract from a 1500s text by Francois Rabelais made it an unusual track at the time, even now we can see many of the tracks aspects (Especially the vocal track) were ahead of its time and still influential today.

Though this track my not be the most instantly dancefloor friendly of those on the Archive One album there is something in this track that grows inside of you and never leaves, it is by turns minimal, dark, foreboding, pounding and in the final analysis has a strong emotionally effecting core. The lyrics are on the surface just a reading from an old text but they have been selected well and can be seen almost as a clarion call to all “warriors” to go forth and fight for the music and scene they love. Perhaps this is too heavy a reading but I always feel the weight of this on me when I listen to this track and my enjoyment is enhanced by it.