Rhythm and Sound
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Leo
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There was the Moritz von Oswald Trio with Max Loderbauer and Tony Allen (and guests like Vladislav Delay to Carl Craig) which wasn't so much jazz as improv/"free electronics", some interesting things but not amazing. even further afield from Berlin dub techno, he also had an album of roots music of Kyrgyzstan (https://www.residentadvisor.net/reviews/21641). he had a stroke 10 years ago, which slowed him down a bit for awhile but I believe he recovered fairly well.
Ernestus has mostly concentrated on jeri-jeri Ndagga, the African music project.
I'm glad they stopped releasing music on basic channel and chain reaction, best to leave them at their peak as perfectly formed entities. would have been very hard to maintain the level of quality, and risk watering down the label brands with lesser releases.
Ernestus has mostly concentrated on jeri-jeri Ndagga, the African music project.
I'm glad they stopped releasing music on basic channel and chain reaction, best to leave them at their peak as perfectly formed entities. would have been very hard to maintain the level of quality, and risk watering down the label brands with lesser releases.
version
Well-known member
Lock The Studio, Turn Out The Lights: Basic Channel 25 Years On - https://thequietus.com/articles/24494-basic-channel-review-anniversary
... it's telling that the entire Basic Channel series (alongside the pair's many other records as Maurizio, Round and Rhythm & Sound) remain consistently in vinyl press via Ernestus' Dubplates & Mastering studio: it's a gesture that says that this music is no historical document, but is still living and breathing, alive with surface crackle, to be handled, played and boomed out through massive speakers.
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... grounded in dub's booming bass resonance and steeped in blue-grey electrical crackle, gesture towards a blossoming of new possibilities from somewhere deep within the earth
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"One quality in music that interests me is transcending or having a relevance beyond the cultural context it derives from," said Ernestus in an interview a few years ago. In a sense, those globally-minded collaborative approaches remain some of the most active facets of the pair's legacy now, even though Ernestus and von Oswald haven't released any new music together for about a decade. For example, with the internet forming increasingly global networks, you can hear echoes of the pair's respectful and considered approach to cross-border collaboration in the work of many current artists and organisations that seek to work across cultural, economic and geographical distance. Equally, listening to the Basic Channel series in 2018 — and still with a mind to the particularities of its origin story — does seem to offer some critical reflection on the electronic music world now, in that its imagining of techno as a wholly open-ended and still-subversive form jars against the increasingly locked-down culture and infrastructure that characterises the genre (and much of the electronic music world more broadly) today. Curiously, this ends up infusing their records with a pang of nostalgia, for what might have been or crucially what might still be possible, even as the music itself forcefully resists such emotions. Looking forward, then, these remain vital, potent recordings for thinking through the kind of agency and presence we might want experimental music and art to have in this complex, ambiguous moment.
... it's telling that the entire Basic Channel series (alongside the pair's many other records as Maurizio, Round and Rhythm & Sound) remain consistently in vinyl press via Ernestus' Dubplates & Mastering studio: it's a gesture that says that this music is no historical document, but is still living and breathing, alive with surface crackle, to be handled, played and boomed out through massive speakers.
- - -
... grounded in dub's booming bass resonance and steeped in blue-grey electrical crackle, gesture towards a blossoming of new possibilities from somewhere deep within the earth
- - -
"One quality in music that interests me is transcending or having a relevance beyond the cultural context it derives from," said Ernestus in an interview a few years ago. In a sense, those globally-minded collaborative approaches remain some of the most active facets of the pair's legacy now, even though Ernestus and von Oswald haven't released any new music together for about a decade. For example, with the internet forming increasingly global networks, you can hear echoes of the pair's respectful and considered approach to cross-border collaboration in the work of many current artists and organisations that seek to work across cultural, economic and geographical distance. Equally, listening to the Basic Channel series in 2018 — and still with a mind to the particularities of its origin story — does seem to offer some critical reflection on the electronic music world now, in that its imagining of techno as a wholly open-ended and still-subversive form jars against the increasingly locked-down culture and infrastructure that characterises the genre (and much of the electronic music world more broadly) today. Curiously, this ends up infusing their records with a pang of nostalgia, for what might have been or crucially what might still be possible, even as the music itself forcefully resists such emotions. Looking forward, then, these remain vital, potent recordings for thinking through the kind of agency and presence we might want experimental music and art to have in this complex, ambiguous moment.
Leo
Well-known member
one of the first things I did when I first got into electronic music and techno was buy the basic channel catalog of 12" singles. foundational. I'm sure I'm not the only one.
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luka
Well-known member
More Kirghiz Light? What is this please?
Leo
Well-known member
version
Well-known member
'Blue Dub' is my fav. of the Trio stuff, some of it's a bit too Gilles Peterson-y for me, I prefer the stuff that's closer to BC/R&S.
This Ernestus EP is good:
Client Eastwood
Well-known member
version
Well-known member
Leo
Well-known member
just curious: does anyone here buy any music anymore (monthly streaming fee doesn't count)? never read anything about hunting down a record, what people bought last weekend, etc. the people I know IRL who are the biggest music heads seem to buy the least, if they buy anything at all. why spend money when you have youtube, I guess.