Posts Tagged techno

Kane West Wants To Be The Best

Kane West Wants To Be The Best

To know Kane West is to dance to Kane West. The producer, one-third of ebulliant crossover pop act Kero Kero Bonito, peddles an ecstatic brand of four-on-the-floor techno laced with the squirming leftfield charm of his PC Music affiliates. Often employing basic music software setups and presets in lieu of the fetishized and highly-prized analog equipment, Kane West is devoted to the sole aim of making people dance. His lyrical content is typically no more than an assemblage of stock DJ tags and shoutouts—reminding us, in no uncertain terms, to "put [our] hands up in the air" and "dance." Faced with the cryptic Kane West and his irresistable output, there's really not much else to do. As the enigmatic figure makes clear in his interview with AdHoc—ahead of his April 13 show at Sunnyvale—Kane West is an effervescent entity who congeals, not in the press release or music journal writeup, but in the club. 
AdHoc: So, who is Kane West? Is it the real identity of Kero Kero Bonito member Gus Lobbon? An alter ego? A faceless, anonymous house DJ? A Kanye West tribute band?
Kane West: The best DJ.
How do you envision this figure behind the name Kane West?
The best DJ playing the best records.
What’s the joke behind the name? Do you have any special affinity for Kanye West?
No—it's a coincidence.
Not to belabor this line of inquiry, but what IS your favorite Kanye record?
The "Mr. Fingers" one.

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Davey Harms Gives Us His Latest, "Quiet Smith"

Davey Harms Gives Us His Latest,

Providence's long-running, noise-induced techno producer Mincemeat or Tenspeed has dissolved into the new project under the name Davey Harms. This Loop is Gonna be the Death of Me is a throbbing face melter full of earth shattering rhythms that will render you helplessly shaking on the floor. "Quiet Smith" is a melting pot of heavily distorted loops, crafted from feedback fed through multiple pedals, becomes chopped, and skewered into skillfully rendered, heart throbbing compositions. It feels as though the inner circuitry of Davey Harms' gear is being pushed to its physical limits, emanating billows of radioactive smoke. Intricately layered patterns are formed from dense layers of feedback. There is a rawness on this album that comes from a great degree of knowledge and control over these sound forms and effect chains. This Loop is Gonna be the Death of Me is a voyage into a euphorically gyrating machine that is spewing battery acid.

This Loop is Gonna be the Death of Me is out now digitally via Davey Harms' bandcamp.

Ceremonial Abyss: "Void Trak I"

Ceremonial Abyss:

Ceremonial Abyss delves into a dark, cavernous, acid wasteland on "Void Trak I," an aptly named cut off the act's self titled-debut on Cuss FetishCeremonial Abyss as a whole is a cerebral journey of deeply enthralling hardware techno. The track's hazy, atmospheric, synth patterns float above vividly manic rhythms. It becomes a cacophonous labyrinth of interwoven sonic textures. The slow, chilling drone that opens it reverberates into a brooding melancholia. Its murky subterranean soundscape is soon met with a thick, throbbing bass, coupled with a tumultuous kick, which coalesce together, challenging your ability to stand still. Forming an ominous shadow of aural entrancement, "Void Trak I" burns a hole through you, leaving only ashes to account for your charred remains.

Ceremonial Abyss is out now on Cuss Fetish.

Miguel Alvariño: "Cess"

Miguel Alvariño:

A mere year after clearing out our collective sinuses with his head-throttling cassette Strain, Miguel Alvariño has returned with a new 12" of furiously inventive techno. The Brooklynite's latest EP Participation doesn't take any gigantic leaps beyond the overdriven assault of his previous work. As this track demonstrates, it simply drives the wedge between the eyes a little deeper, with bass notes custom built to split the skull clean in two. All the better to allow the angry swarms of noise ping-pong around inside. 
Participation is out in April on Hot Releases
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Crossover, Disintegration, and New Formations: An Interview with Pete Swanson

Crossover, Disintegration, and New Formations: An Interview with Pete Swanson

Pete Swanson may be most famous for his work in the celebrated noise duo Yellow Swans, whose six years together lead them to acclaim in the experimental scene, with releases on labels like Root Strata and Type. Yet, Swanson also has a longstanding solo career, with a sound that is continually evolving. Most notably, he is a case study of an American musician whose work is slowly crossing over the boundary from noise to techno. The early stages of Swanson's transition to more dance-oriented music was in 2010, when he recorded Man With Potential in an isolated spot in Oregon, shortly before moving to New York in 2011 to begin an accelerated nursing program at Columbia. In New York, a scene of similarly-minded musicians with noise backgrounds were an apt audience for Swanson's new record, attracting him a fresh following. Swanson is once again switching up locales, soon ditching the east coast for Los Angeles, where he will seek out employment opportunities and take advantage of more spacious accomdations for his musical projects. We recently took some time to talk to Swanson about his experiences in New York and the ongoing convergence of techno and noise into the powerful hybrid it has become.  

AdHoc: It’s sad to hear you’re leaving New York. When did you move here and what stuff did you see right away that you really liked?

Pete Swanson: I moved to New York in summer 2011, and I couldn’t really go to shows very much for awhile because of a very accelerated program I was in at Columbia. One of the first shows that I saw was actually a Bunker show with Rene Hell, Keith Fullerton Whitman, JD Emmanuel, Raglani, Led Er Est, and Kassem Mosse. It was kind of bonkers! Actually, one of my favorite things about that show was that Rene Hell managed to get really drunk that night, and he was leaning over pretty heavily on the table while he was playing one of his laptop sets. You probably know his music is getting more and more abstract, and there was this point where it was getting very, very quiet, but then it just stopped. He was just sitting there; he didn’t move at all, didn’t change his expression, and was just pawing his mouse. It seemed to take way too long, somewhat more than a minute. Eventually the promoter came onstage and tapped him on the shoulder to figure out what was going on, and it looked like he just tapped the space bar and all the sudden all of this crazy noise started coming out of his computer after total silence for that time. It turned out his computer had crashed, and he had to reboot it. He was drunk enough it didn’t really register, so he restarted it onstage without letting the crowd know, and it took forever.

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Campbell Irvine: Removal of the Six Armed Goddess

Campbell Irvine: Removal of the Six Armed Goddess

Berlin has been having a techno and house rennaisance for a good quarter century now, attracting all sorts of talent to play weird clubs in back alleys. Berlin transplant Campbell Irvine was a classically-trained violinist in Australia without any background in creating house music. He emerged with the Shambala EP last year and moved to Berlin where he met David Sumner, aka Function, a New York DJ whose label Infrastructure NY  had been dormant since 1998. Sumner heard the tracks for Irvine's Removal of the Six Armed Goddess and, having just revitalized his label, he decided to put out the 12" this past June. The three songs on the record are texturally complex, featuring thick swaths of delayed static, ominous moaning, and samples of Arabic music that hovers like a miasmic fog above a deep industrial 4/4 groove. Nevertheless, this is dance music indebted to UK darkcore and acid house, with a dark ambient electronica bend ala Muslimgauze or Demdike Stare

Listen to a track off the record, "Thread Laid Bare On The Ground," below. You can order Removal of the Six Armed Goddess from InfrastructureNY here.