Um das Jahr 1993 fanden musikalisch vollkommen neueartig strukturierte – und durch faszinierend andersartige Echoeffekte und unerwartete Spiellänge geprägte – Schallplatten ihren Weg von Berlin in die Welt. Und damit auf die Plattenteller der vom damaligen Zeitgeist beeinflussten Hörer. Plötzlich galten die ohne Markenzeichen schlicht und zeitlos gestalteten Sleeves – welche in Detroit gepresste, aber in Berlin entstandene Musik enthielten – zum Synonym für Künstler, die statt der eigenen Person lieber die Musik in den Fokus rücken wollten. Mit dem Label Basic Channel, das von Moritz von Oswald und Mark Ernestus betrieben wurde, fanden diese ein weites und genreübergreifendes Experimentierfeld. Dieses ermöglichte Moritz von Oswald, den Begriff Techno unter Einbeziehung von Dub, Ambient, Downtempo, Minimaltechno und Avantgarde zu einem Amalgam zu formen, das bis heute als der Urstoff von Minimal verortet werden kann.
Moritz von Oswald beschritt seither ästhetisch wie technisch einzigartige Wege, die durch zeitliche Ausdehnung, Akzentuierung, modulierte Wiederholung und strenge Selektion von musikalischen Versatzstücken bis heute Klangwelten zu schaffen, welche nicht nur auf Tanzflächen funktionieren, sondern den Kanon der minimalistischen Electronica für immer bereichern werden.
Die Souverenität seines Wirkens am Mischpult lässt ihn, wie seinen Jamaikanischen Wiedergänger Lee Scratch Perry, zum elementaren Impulsgeber der musikalische Postmoderne werden. Mutige und unerwartete Kollaborationen mit verschiedensten Musikern wie Juan Atkins, Carl Craig oder dem Jazztrompeter Nills Petter Molvaer weisen regelmäßig auf seine besondere Ambition und Stellung hin – als kreatives Füllhorn höchster geschmacklicher Integrität, dessen Erbe an Bass-Exkursionen deren Feinschliff in seiner Bedeutung und Wirkung noch nicht abzusehen ist: In eigenen Produktionen wie in den feinsinnigen Remixen anderer Künstler.
English version : In the late 1993, mysterious records of mind bending electronic echoes, in length and structures, started to emerge from Berlin. Plain sleeved records with enigmatic graphics pressed in Detroit, but made in Germany by two guys from Berlin who weren’t so keen about showcasing their physique, but rather focused on the music. Basic channel and Moritz von Oswald took techno music to a degree in a variety of shapes that encompassed dub, ambient, downtempo, techno and basically crafted minimal techno de facto. Mr. von Oswald aimed towards face eating repetition and stretching the groove into a place that opened a rich and vast new territory in music for the dance floor and sound textures that were and still are unique.
It’s like Lee Perry would stretch his legs in warm bath with nothing but sequencers and TB 303 for company. Using the mixing board as a tool like his Jamaican nemesis, von Oswald swiftly emerged as the quintessential post-modern artist : collaboration were spawned with Juan Atkins, Carl Craig, Nills Petter Molvaer and so on. The holy grail of techno music. Pure class, heavenly remixes and blissful dubby basslines.
P.-S. : Thanks to B.R. for the translation and above all, for being a friend, vielen danke mein lieber 😉
Dedicated to Mr Oswald and Mark Ernestus as well.
1) Real Scenes – Berlin
2) Basic Channel – E2e4 Basic Reshape
3) Moritz Von Oswald – Ole (Remix)
4) Nils Petter Molvaer, Moritz von Oswald – Development (Ricardo Mix Dig)
5) TEXTURAL BEING – Homage à Maurizio
6) Round Four: Find A Way – Found A Way
7) Pantha Du Prince – Of Welt Am Draht (Moritz Von Oswald The One version)
8) Juan Atkins & Moritz Von Oswald – Electric Garden (Jazz In The Garden Mix)
9) Basic Channel – Q1.1/III
10) Maurizio – M6B [Edit]
11) Maurizio — Untitled (M-6)
12) 2raumwohnung – Ich Bin Der Regen Moritz Von Oswald Remix
13) Basic channel – Q.1.2 / Maurizio – m7
14) Moritz Von Oswald – Cocoon Dark Dub (Cocoon)
15) Moritz von Oswald – Watamu Beach Rework
16) Infiniti – Think Quick (Moritz Von Oswald ’94 Remodel)
17) Basic Channel – Octagon
18) Basic Channel – Phylyps Base
19) Basic Channel - Phylyps Trak
20) Basic Channel - Radiance II
Deepchord was originally a partnership of Rod Modell and Mike Schommer, but later became a solo project of Rod Modell. The sounds at work are predominantly those associated with dub-techno: dubby beats, crisp static, synthetic analogue grooves, and deep chords. Recently, records such as Liumin in 2010 saw the artist expanding its palette to source field recordings as it was hailed as an atmospheric piece of sonic art. This mix has 2 hours of the artist’s music plus some of his best remixes such as Sebastian San’s Darker shades, in my opinion his remixes are very underrated! Only available as stream below.
Maybe it was 3 or 4 years ago. I had first read about it in Resident advisor a year before but as their reviews are often to be taken with a grain of salt and often features duds, I didn’t check the album properly. Then I bought the album on vinyl, great experience but, most mixed albums fit better in the CD format. The mastering on cd here is fully is showcased in its glory at Enisslab studio, owned by Giuseppe Tillieci aka Neel, one part of Voices From The Lake. The title in itself was mysterious and enigmatic and it was one of the first things I heard from Italian producer Donato Dozzy. Voices from the lake consist of 2 Italian producers : Donato Scaramuzzi aka Donato Dozzy and Giuseppe Tillieci. Their eponymous debut, self titled Voices from the lake has gathered unanimous praises and after having listened to it for at least 25 or 30 times, I have to say that it is one of those albums that will come to define an era. The current decade for sure. Is it techno, or more precisely, Dub techno, ambient, minimal, electronic dub or all of the above ? Does it really matter ?
I’ve become less and less enamored with reviewing music because, to be frank, new music kinda sucks when you age (I’m not into the new Massive attack per se, as an example) and second of all, I kinda think like Zappa when he said that ”reviewing music with words is like dancing on architecture”. But here, we have an album that totally reinvents techno especially with those sublime warm ambiences. A lot has to do with the hypnotic grooves throughout the whole record : it’s like one idiosyncratic pulse that never wander away…There is a pulse for certain, but that is not what carries the mixed music as a whole, I mean it’s there, sometimes beneath the fuzzy textures but it’s not how I would define that quintessential record. So how would I ? Or better yet, why would I need to ? The result is rather most intriguing : it’s highly dynamic but yet very enigmatic as the grooves are never locked in there forever. They don’t dissappear either, they rather morph into something – an elusive mix of electronic that holds itself together like shapeshifting alien. The flow, the pacing and the spaces filled in the music are perfect.
This album is not and cannot be an instant favorite. It needs time to delve into one’s psyche. But when it stays, tracks like Virgo, remain there forever : This level of complexity wouldn’t be possible in most producers’ hands. As an art form, techno often strives to make something emotionally engrossing without using conventional stimuli like melody or lyrics. Dozzy and Neel have an incredible ear for sound design (Neel has also mastered many of Dozzy’s past records, including his album K, along with numerous other releases on Prologue), and this allows them to give each moment of the album a vivid foreground, middleground and background, each with countless details to pick apart. Voices From the Lake captivates from one moment to the next, but there’s a broad compositional element that keeps the whole thing moving. More than having just a beginning, middle and end, it has an introduction, several chapters and an epilogue.
The most memorable of these moments is “S.T. (VFTL Rework),” a new version of a song Dozzy recorded for an earthquake benefit compilation called Composure: Ambient Techno for Japan. By the time this track comes in, some 30 minutes into the album, we’ve gotten used to the idea that rhythm, texture and atmosphere might be all we’re going to get. This makes the arrival of smooth major chords, slowly cascading into the mix, truly climactic. Suddenly the album has an emotional dimension you didn’t see coming. It was a framework or a gimmick that was used a lot in the 1990’s on the IDM, ambient-techno and techno records. While working within known tools of electronic music such as sound design, linear rhythms, and slow build-ups, they have reworked techno’s fundamentals. This is why it is such a great record, a quintessential record, one that will stick for years to come. The range of soundscapes displayed on that record is so vast that it truly speaks for itself. I can’t think of a single techno, or dub techno, or minimal album that has struck such a deep Voice from the lake.
It is a landscape that is as beautiful as it is mesmerizing. The kind of place where I’d never want to vanish from, or maybe stay in the background, with the music flowing and growing on the same lake. Maybe that’s why it was called Voices from the lake. The voices remind me of Persistence of time by Dali. They never truly get out of your head. And we don’t want to either!