When Recondite, AKA Lorenz Brunner, emerged with his debut LP for Acid Test (2012’s On Acid), we were still learning about the German producer’s inward-looking dance floor sound. A few years later, his sinewy jams have proved near universal — like an underground Zelig, he’s fit perfectly everywhere from Rødhåd’s Dystopian to Ghostly International and Innervisions. Acid Test also allows Recondite the chance to indulge his more outré tendencies and a welcome return it is. CD version includes a bonus disc of ‘On Acid’
The latest chapter in the electronic evolution of guitarist John Frusciante features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template. Frusciante’s desire to cede control to machines has paradoxically allowed him to present a singular take on elemental dance music, a brilliant and unexpected entry into Acid Test’s growing canon of modern, 303-focused dance music.
Words from the Artist
“I started being serious about following my dream to make electronic music, and to be my own engineer, five years ago. For the 10 years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer and sample based music, emulating as best as I could, what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony. I would learn what someone had programmed but their thought process eluded me. Programmers, particularly ones fluent on machines from the early 80s and/or tracker programs from the 90s, clearly had a theoretical foundation in their employ but it was not the theory I knew from pop/rock, jazz or classical. The hands relationship to the instrument accounts for so much of why musicians do what they do, and I had come to feel that in pop/rock my mind was often being overpowered by my hand, which I had a strong desire to correct. I was obsessed with music where machine intelligence and human intelligence seemed to be bouncing off one another, each expanding with the incorporation of what it received from the other.
In 2007 I started to learn how to program all the instruments we associate with Acid House music and some other hardware. For about 7 months I didn’t record anything. Then I started recording, playing 10 or so synced machines through a small mixer into a CD burner. This was all experimental Acid House, my skills at making rock music playing no part in it whatsoever. I had lost interest in traditional songwriting and I was excited about finding new methods for creating music. I’d surround myself with machines, program one and then another and enjoy what was a fascinating process from beginning to end. I was so excited by the method of using numbers much in the same way I’d used my muscles all my life. Skills that had previously been applied by my subconscious were gradually becoming conscious, by virtue of having numerical theoretical means of thinking about rhythm, melody and sound.
In summary, Acid served as a good starting point for me, very gradually leading me to be able to combine whatever styles of music I want, as a one man band.” - John
The instrumental 2LP/CD/Digital release comes out on April 6th worldwide and will be available at all outlets
Achterbahn D’Amour’s machinefunk opus, “Odd Movements.” gets reworked with 4 sonically diverse remixes. Detroit don Marcellus Pittman kicks things off with a massive, unsettling flip of “Holy Roman Empire.” The Italian producer Chevel is up next with a virtuosic take on the LP’s title track. His cubist, artfully restrained version ends with over a minute of icy techno snap. Convextion, as well, chooses to hold back for maximum impact, infusing the moody “Passagen” with subdued electro bounce. Finally, SW. imbuesthe duo’s “Konigstr” with dubbed-out breakbeat pressure, occasionally allowing the original acid line to seep through a skittering rave rhythm.
Tin Man - Ode 2LP / CD
Release date September 22th 2014
What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night’s unmade sheets.
Acid Test 09 marks the first true collaboration from Tin Man and Donato Dozzy. After spending studio time together in Rome the two have completed a beautifully deep EP of music. Tin Man’s emotional acid lines become shooting stars in Dozzy’s hypnotic atmosphere. Limited hand painted sleeves. Mastered by Rashad at Dubplates & Mastering.
The debut full-length by Achterbahn D’Amour (Johannes “Iron Curtis” Paluka and Jurgen “Jool” Albert), captures two artists coaxing their most emotional sounds to date out of classic Roland boxes.
The album is the natural extension of the duo’s live-rooted sound, further defining the oblique dance moves contained on their three Acid Test EPs. They demonstrate a true reverence for the 303 and 606. On Odd Movements, lush pads and abrupt toms create a literal pedestal for the bassline machine. The duo have hit on a sound well-suited for dark rooms and towering sound systems.
We’re back with another 12″ from Tin Man. “Mystified Acid” really let’s the 303 shine with it’s minimal drums and ambience and aims straight at the dancefloor. “Finger Paint” from last years Neo Neo Acid album is revisited by Hamburgs RVDS, while on the flip Joey Anderson turns “Futurist Acid” into a deep long and tripping journey.
If ever you were to enter into a listening experience with a sense of uncertainty, it could very easily be with this record. Acid Test, a sublabel of L.A collective Absurd, has in just a small cluster of releases established itself as a reliable bastion for futuristic considerations of 303-driven dance music. There’s no escaping the omnipresent acid machine, still as fetishised and relied upon for rave nastiness as when Phuture paved the way back in ’87. Where scores of producers still see an acid track as a simple combination of drum machine beats and the aforementioned 303, the team behind Acid Test are more concerned with deepening the creative possibilities that the tried and tested sound can be contorted to.
Their releases so far from Achterbahn D’Amour, Tin Man and Donato Dozzy amongst others have illustrated just how diverse an instrument the lysergic squelch can be, buying into the psychedelic potentials without once alluding to the predictability of a ‘jack track’. Pépé Bradock is likewise a tricky proposition to second guess, with a careering sound that swerves into all-out jazz territory via refined deep house, nutty found sound collages and plenty more besides. It’s not so common to find him turning to a more focused kind of rave music though, seemingly more concerned with the cerebral than the physical in his output, and so that previously referenced uncertainty looms large over this record before putting it on.
Pépé Bradock - Lifting Weights
Of course it’s more excitement than nerves that dominate, which is thankfully justified across every single second of this seventeen-minute record, with Bradock rising to the label’s remit with aplomb and serving up a kind of acid you will have never heard before. “Lifting Weights”, and its counterpart “Mujeres Nerviosas”, sport the hallmark Bradock tendency to cover many different moods and moments within their running time.
Continue reading here:
::: Coming soon :::
Lifiting Weights / Mujeras Nerviosas 12″
“Recorded in LA assembled in Paris”
Resident Advisor list Recondite’s “On Acid” in the top 20 albums of the year. Thanks RA!
Achterbahn D’Amour return to Acid Test with Cardbox & Harmonia, including a stellar remix from Innerspace Halflife.
Available in all good record shops.
$20.00 + shipping email firstname.lastname@example.org
As the title implies, the 303 remains very much at the center of these dance floor excursions, whether holding down the low-end on “Devine Acid” and “The Muses” or stretching far and wide across the track, as we hear on “Museum Of Acid” and “Absurdist Acid.” It’s uncanny how simply Tin Man whips up a frenzy: a cut like “Futurist Acid,” with crisp hi-hats and a steady thump delivering a circular 303 line with little more than delay as ornamentation, evokes a multitude of colors and emotions. Auvinen’s compositional intuition is as strong as ever here, its tracks unfolding with simultaneous calm and immediacy.
“Recondite has been extraordinarily successful, creating an album more deeply psychedelic and mind-bending than a vast majority of previous attempts” http://www.littlewhiteearbuds.com/review/recondite-on-acid/
RA Label of the month - Read the article, and check out the mix.
“Eddie Richards has mixed up new and old tunes from the Acid Test catalogue. It’s a journey which goes from soft to hard to soft again, with the only throughline being, of course, the ever-present 303.”
Little White Earbuds lists Acid Test 01 as #2 track of the year
As well as the #28 spot for Donato’s remix
acid test 05, ‘trance me up (i wanna go higher)’ comes from achterbahn d’amour — the german duo of well-known iron curtis and his lesser spotted pal edit piafra. confusingly, despite the titles, it’s neither acid nor trance, but instead solid, raw, organic and classicist house music.
Full review here
After their debut on Acid Test 02, Achterbahn D’Amour aka Iron Curtis & Edit Piafra return for the 5th in the Acid Test series with 2 new tracks. Including a massive remix from the almighty Skudge.
A1 - Achterbahn D’Amour - Trance me up (I wanna go higher)
A2 - Achterbahn D’Amour - Adult movies
B1 - Trance me up (I wanna go higher) - Skudge remix
Acid Test 04
A1 - Holger Zilske - E preciso Acreditar
B1 - John Tejada reduction remix
B2 - Axel Boman remix
Digi - John Tejada v2 remix
Acid Test 04 drops from Berlin’s Holger Zilske - A pure analog jam using just a 303, 101 and a 808, its a slow pulsing bass heavy acid work out. Comes with remixes from John Tejada and Stockholm’s Axel Boman
The mix is done only with records and I left the mistakes in it. The mix tells a story about the acid moon which is a kind of dance planet with extrodinary spaces, moods and flows. The centre is the TB-303, which you can listen to in nearly every track. There are 17 acid tracks from 23 years acid works. It was fun to do — RVDS
Acid Test 03
A1 - Donato Dozzy - In Bed
B1 - Donato Dozzy - In Bed - Tin Man remix
Part 3 in our Acid Test series sees the return of both Donato Dozzy & Tin Man. This time, is Donato contributing an original composition and Tin Man on the remix.
Recorded for his overture at the Labyrinth festival in 2010 and comprised of a Devilfish 303, Juno 60 and Roland SH-2. “In Bed” is spaced out ambient techno in signature Dozzy style, meanwhile, Tin Man takes the melody of the original and turns it into an acid journey including the addition of his vocals.
Boomkat - http://boomkat.com/vinyl/407671-donato-dozzy-tin-man-in-bed-tin-man-mix
Decks - http://www.decks.de/t/donato_dozzy-acid_test_03/bxj-61
Phonica - http://www.phonicarecords.com/product/view/70833
“Absurd Recordings maintain the standards laid down with the Tin Man & Donato Dozzy shaped brilliance of their first Acid Test release in premiering the sounds of Achterbahn D’Amour. A new collaborative project between Iron Curtis and Edit Piafra….”
Part 2 in the Acid Test series comes by way of a new project from Berlin’s Iron Curtis. Along with his partner Edit Piafra we introduce ‘Achterbahn d’Amour’ - Including 2 dubbed out acid mixes from London’s Idjut Boys.
Johannes Auvinen, best known as Tin Man, is the ultimate techno drifter. He’s wandered geographically (from Los Angeles to Vienna) and sonically (from twisted post-apocalyptic Chicago etudes to acid-tinged synth pop), and he’s never been particularly choosy about his passport (he followed an EP for techno mainstay Cheap by one for outré-indie boutique label White Denim). For an artist so in line with our handcrafted, old-school-obsessed moment, Auvinen is hardly a major player in the zeitgeist. His invisibility might be a shame for dance music, but I’m guessing being “neglected” suits the eternally downtrodden Tin Man just fine.
But mark my words: the mystery won’t last through 2011. It can’t. His latest 12″, this time for LA-based Absurd Recordings as part of their new Acid Test series, is just too good. It would be an incredible record if only for “Nonneo,” a new Tin Man joint which is brighter, punchier, and more floor-ready than practically any other record in his discography. But the fact that Donato Dozzy, the Italian techno shaman and elite member of mnml ssgs’s spank bank, has supplied a remix of “Nonneo” — one which transforms the original into one of the most otherworldy instrumentals to grace my inbox in a few minutes — seems destined to shine a very bright light on one of techno’s palest denizens.
Full review here: