Posts Tagged ‘2002’

How Excellent Can Something Get?

November 29th, 2020 Comments off

There can only be one…

– It is really?

– Yes. Unmistakeably so, that programming and the sub bass? There is no question, with out a doubt it is in fact the one and only: Roel Funcken! Even the run-out is great.

– Come on?

– I know this. I have never played this on out. Never. In the collection? What do you think? Is it really? If you listen a long time and you collect. Then you can/will hear it. No doubt.

– Are you sure? Yes, I am 100% sure, but so are you? No doubt it is him. New name? Come on? It really doesn’t matter. I know that you know that this is Funckarma. It doesn’t matter in the end? This is: Roel Funcken!

That is pure bass pressure. Looking, looking, looking for that perfect beat. I have never played this track out loud. The run-out is pure genius. Do you own the track? I do. It is: Cane ‎– Teknotest on Arcola. Roel Funcken doing his business. Futuristic stuff/styles.

Too me? None and I mean no one is better*. I do have musical ideas. But, R.Funcken is somewhat standing in my way. The man is a genius. The beats, the programming and mastering? It is impossible! I keep listening/collecting.

I mean even the run-out is excellent… he is truly an impossible man (musically, I mean.).

– The run-out?

– On a vinyl record there is an eternal loop; it is the run-out, I don’t really want to discuss that. I just don’t want to do that. However, it is not random. It is how the track never ends and it could be different.

Play the tune. Again. A musical genius. Somewhere, here: Funckarma, Part 5; a very early post, actually it is the last page and first post here on

There are others, but they’re not on-line (to my knowledge), they’re not reviews/text about releases and they belong to: Electronic Desert. So therefor they’re in the archives for now.

At the time (2002) I did not have a clue that what I was looking for and collecting actually had the exact same origin. No, I did not know that: Quench was Funckarma or that Android, Cane, Cenik, D’Enborage, Dif:use, Eaven, Legiac, Mystery Artist, Scone, Shadow Huntaz and now Styx (missed it in 2016)?!

It was a suspicion that grew (Quench, Funckarma and Cenik) special sound, experience and insight has made it easier. I still suspect that there are more releases under other aliases hidden/tucked away somewhere out there.

And the music is as good or even better today! The sub bass is unbelievable. Unbelievable. And he keeps pushing the sub bass for an eternity, alongside the complexity that is hard to surpass!

To me it is truly magical music. It is MAGIC!

* Wow, there Leslie! What about Jazz giants and so many of the rest? …I know that’s why normally refrain from talking about the best… there are to many to mention… Monk for one (what about Coltrane, Miles, Parker, Sun Ra, Craig, Mills, , Heard, Rogers, Martin, James, Brown and Booth or ? I don’t know? Maybe too obvious? What do you think?).

It’s Disconnected

November 29th, 2020 Comments off

– Please stop! Now! Just stop! Please. Where is the rack at?

– It right there?

– There is a limiter in the cabinet? Right? There must be a limiter?

– Yes. Of course there is a limiter.

– What is going on? It should have clipped a long, long time ago? The way you are playing right now? Why isn’t the limiter clippin’? Are you actually planning to destroy the system? This system? You can’t afford that… this is not you. We respect the sound. This is aggression.

– The reason to why it is not clippin’ is quite simple. I have disconnected it, it’s disconnected. I couldn’t play properly it was interfering and cutting out.

– Wut da f**k are you talking about!? (I had to make an effort keeping my balance opening the door to the DJ booth, because the 12″ on the floor was maximised and I could still hear the next tune in line through the DJ’s headphones. It is by far the loudest thing I have ever heard in my life. As I opened the gate I thought that I was going to fly down the stairs. Propelled by the sound pressure alone…). On this system?

Again. – It is not clippin’ because I’ve disconnected it.

On a +30KW system? Pushing crazy volume? Do you have any conception or idea about the volume on the floor right now? I just don’t know what to say… and as a matter of fact I still don’t after all these years… I hid/covered behind a concrete pillar covering my ears at the same time. In order to escape. I have never heard anything like it.

I eventually told people to leave…

– I’m loving seeing you here supporting! However, you all need to realise that at this very moment it is actually dangerous being on the dance floor. And that you all are in imminent risk of damaging/impairing your hearing for life, at this very moment (that is the reason for me to be covering my ears whilst screaming on the top of my lungs to you)!

It is totally irresponsible, reckless and I know that you assume that we’re professionals here. You assume that no one would willingly subject anyone to something as dangerous as this actually is. There are laws, rules and regulations even in clubs? I am telling you that none of them apply this night. I am telling you to leave. For your own sake. It/he was completely crazy.

– I would never say and I never thought that I would ever have to say that to anyone dancing yet it is true. The decibels right now? They will hurt you. Please leave. Cutting Pleasure this evening? Will hurt you! This is specialized sound boy killa biznizz! It’s wrong. The sound held and it was not shredded to pieces, not on the night. But that was crazy volume, insane push and not recommended. Simply dangerous.

– It’s disconnected…

Cutting Pleasure.

Oh man! That was hard to the core… an honest attempt of breaking the system.

* I’ve actually heard/seen the big rig go up in flames, twice (I did try my best preventing it from happening, yet I failed miserably at both occasions). However, they’re other stories altogether. That silence and the pure undiluted disappointment emanating from the dance floor? Indescribable. Because you can literally touch the void of sound and the disappointment from one instance to the other. When the sound dies…

– You realise that it is going to break (in a bad way)? I can hear it (and smell it, that is when the glue, the bakelite of the speaker coils are melting. There’s still (a very short) time to save the system. There is tome to cool down and restart/rethink things. I know that you are well aware.

– I told you so? It simply will not cut it in the end? It will break.

Then the night is destroyed for everyone. Da’ system is up in a smoke…

– I told you so…

Categories: Culture, Future, History, Music Tags: , ,

Deadbeat, Wild Life Documentaires [~scape – SC15, 2002]

July 12th, 2004 Comments off

sc015_deadbeat_wild_life_doIt’s e-dub of the highest order and the production techniques are perfected. Some like and some don’t. I think it’s simply masterful!

Phako, Shipyards and Engineering Co. Ltd. [DUB Recordings – DUB CD06, 2002]

March 25th, 2004 Comments off

phako_yards“Shipyards and Engineering Co. Ltd.” is the album that followed the twelve-inch with the same name that was released on DUB recordings in 2002. The album contains the tracks from the single release other assorted Phako offerings as well as two videos. It’s not just something for the collectors, because it contains great beats intense electronic music too.

Plod, Fast Forward EP [Worm Interface – WI028, 2002]

December 16th, 2003 Comments off

plod_ffwdA lovely four track EP by Plod out on Worm Interface, apparently released last year (2002) it didn’t surface in the vicinity of the desert until this year. The EP starts off with the delightful “Fast Forward” containing top-class production, excellent beats and an all-around niceness in short it’s a wonderful track. “Sillgrisslan” follows it, containing more heartbreaking melodies fused with carefully selected rhythmic elements, gentler in setting than the opening track and very good. In “Brockmann” tempo is taken down a notch, a down-tempo track with amplitude of atmosphere and straight forward slow beats and accompanied crunchy hand-clap. Fourth and final track “Just A Ride” features more clever beats and warm washes of synthesised sounds. There’re four good tracks on this EP and that should be enough, so if you’re looking for some warm sounds to get you through the winter? The recommendation is to invest in Plod’s “Fast Forward” EP.

Various Artists, Sintesi Output 01 [Sintesi Archivio – SINARCD01, 2002]

December 4th, 2003 Comments off

sintesi_output01A three track live recording made with the sole purpose to archive the audio/visual happenings at the Sintesi Electronic Art Festival, hence the labels name. All the recorded performances were hosted in the XVI Century church of “San Serero al Pendino”. First up is LeafcutterJohn and his contribution “Untitled” starts off with an exploration of sound and I guess the particular audio characteristics of the venue itself makes it hard not to. After the off and on wild excursions the composition moves onto an upfront dub number.’s “Lost in the Church” is also set in dub mode, the difference being that they get straight to the minimal point and thereby overcome the desire to fully explore the audio characteristics and concentrating on their hypnotic groove instead. This group is also featured on the DSP compilation Avatar 41° and which was reviewed here in 2003 Last and third recorded performance is signed Terrae and what beautiful compositions they are. Gentle glitch fused with awesome atmosphere, the two part track slowly but surely builds as more and more sonic elements are added. The incorporated elements get the reverb treatment under the supervision of a minimalist mind. Terrae is also featured on the DSP compilation Avatar 41°, which was reviewed here at Electronic Desert in 2003. Sintesi Archivio is an interesting concept and by the sound of it a successful event. The CD also contains video footage, still pictures, music files, interviews, etc. collected at the event. Excellent bonus stuff! Apparently the second Festival takes place this very weekend, 5th-6th Dec 2003!

Crunch, 2 [Colony – COL002CD, 2002]

September 11th, 2003 Comments off

crunch_2Excellent full-length follow-up to “The Laurel EP” the first Colony Productions release that incidently also featured Crunch. Apart from 10 excellent bass ladden crunchy electronica tracks you get remixes by: Funkstörung, Bit_Meddler, Evac, L’usine ICL, Skoptic and Crunch. If you liked “The Laurel EP” and the full-length release “1” on Music Aus Strom I strongly recommend you to get your hands on this CD. That was 2 is there more to come?

Categories: Texts about music Tags: , , , ,

Various Artists, MAS Confusion [Music Aus Strom – !K7137LP, 2002]

August 26th, 2003 Comments off

mas_confusionA compilation from the influential Funkstörung label Music Aus Strom. And it is excellent, but with the participation of: Metamatics, L’usine ICL, Xela, Adam Johnson, Autophonic, Funckarma, Michael Fakesch and Mr Projectile you can’t go wrong. At the time of the release most of the tracks where unreleased, and now some nine months later the situation is almost the opposite. Nevertheless this is most likely the best compilation released in a very long time. They’re top-tunes from top-producers and a show of force for the re-emerging MAS camp.

Lackluster, Wrapping [Defocus – FOC369, 2002]

March 14th, 2003 Comments off

lackluster_wrappingSome beautiful pieces of music that the accomplished Lackluster has put together on “Wrapping” the latest full-length delivered by him. One of the last releases if not the very last release on the reportedly terminated defocus label, who brought us among other things last year’s brilliant “Enveloped” album by Esem, the awesome “Ikae” 12-inch by the same artist and last but not least numerous Lackluster releases. Lackluster displays a wide range of his production skills on this 14-track album, all, which are very warm, atmospheric and beautiful. At times some influences are more noticeable than others, the starting track “In Passing” is leaning strongly towards the special brand of Lackluster house-rewiring that is a integral part of his sonic signature. “Gid” starts off with nice echoed and slightly retro melody for intro and continues building up towards steady beats. “Close Enough” has a soothing melody and plenty of warmth a down-tempo piece. “Too Loose” is an extraordinary beautiful track, powered by simplicity and melancholy. “Flitter” is a beatless floating and atmospheric track and it is followed by “St-00” with more up-tempo beats and fantastic melodic elements and bassline and the intro! The list of good tracks just goes on and on and to say that this album is well balanced would be an understatement. Great gentle and warm stuff delivered by Lackluster!

EU, Warm Math [Pause_2 Recordings – PAUSE008, 2002]

March 14th, 2003 Comments off

eu_warm_mathThis EU release on the Pause_2 imprint is a full-length album entitled “Warm Math”. The album contains twelve tracks of down tempo hip hop influenced beats, carefully constructed melodies and slight retro feelings. Not necessarily a bad thing and there’re plenty of examples of that on the album. For example the opening “Retro” [sic!] with hip hop beats and gently sounding melody, the second track “Gerp” with more complex beats, but the same gently played melody. It is followed by “Rilly” that has obvious house influences and it’s a soothing piece of music. “Said” contains a steady beat alongside a large variety of retro sounding melodies and “Salva” develops along the same lines. But at times the retro inspiration in sound choice and use and lightness of the compositions get overwhelming and the overall effect is somewhat negative, because they give the tracks in question pure pop characteristics. For example the aptly named “Chorus” with its simple beats, suggestion of manipulated vocals and synth washes or “Puerto” that has a compelling down tempo rhythmic structure, but is drenched in synth extravaganza. “Sm” is reminiscent of “Rilly” in its house influences but is an even lighter composition. “JJ3” is decidly retro sounding reminiscent of the classic B12 school of thought, but it has a body and adds some weight to the album. “Secret Track” is not all that secret, but it is a gentle down tempo number with some nice micro tempo changes. “North” follows along the same path, but decreases the tempo a little further and contains obvious references. Last two tracks “Eusday” and “Gerpient” concludes the album. Nevertheless EU got a unique sound and they are obviously highly skilled artists. “Warm Math” is not as strong as their mini album “Reframing” previously released on Pause_2 Recordings. However this offering is well balanced and works as an album. Is it a new destination for EU or is it simply a small musical detour? Time will tell and whatever the outcome, it will be interesting.