Savage Grounds are CCO and Daniele Cosmo, co-owner of Lux Rec. A techno related outfit to explore a darker, noisier and more menacing sound.
The EP has been realised by using only three machines. A Roland 808, a modular synthesizer and a Roland Space Echo. Every track has been recorded in one take.
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Luke Calzonetti, following up on the Zeckenentferner tape from Opal Tapes: eleven tracks ranging from proper songs to brutal techno, romantic melodic stuff to dystopian minimal. A unique feel for texture and storytelling holds it all together, infused with a melancholic, fragile wanderlust.
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You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.
Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«
Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.
Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics, doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.
Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.
One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.
Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.
Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.
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You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.
Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«
Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.
Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.
Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.
One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.
Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.
Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.
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Hypercolour welcome back the pairing of Lucretio and Marieu AKA the Analogue Cops. The Italian producers, now residing in Berlin, present 4 contrasting tracks of bit-crushed techno and loopy Chicago House armed and ready for this summer's parties. Having previously released two EPs on our HYPE LTD label, the pair follows up with more dancefloor certified vinyl of pure analogue goodness.
EP opener 'Vampire Killer' is a Lucretio's ode to bit crushed Techno, with 135+ beats per minute of face melting, drum machine funk. Beautifully distorted melodies (taken from the game Vampire Killer on the MSX2) contrast with distilled analogue rhythms to transport the listener to some lost world of computer games and 6am Techno.
'Shinobi' continues side A's theme of chip/game music twisted for the warehouse. Bitty melodic phrases push the track into orchestral territory, with heady arpeggios and feel good melodies evoking shades of late night Sega and SNES sessions and the days of proto-house.
'Corona' is Marieu's first contribution to the EP, taking his side of the wax into harder, darker territory. Deep, sine wave bass, impeccably mixed drums and a vocal lick that creeps into the mix without introduction; 'Corona' is a short sharp shock of a track. EP closer, 'McGraw', waltzes into vintage Chicago territory; with looping funk samples and slamming drums, this track proves you don't need 20 channels to make a burner. Pure 4-track House simplicity at it's best.
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Irishmen Kieran Craddock & Peter Fleming, aka Effy, after 2 releases on Disco's Dead and Erimus, respectively, showcasing their jackin' house and dark warehouse proclivities, and attracting support from UK households such as Swamp81, are now armed and ready to join the IM family. Part of the encroaching brit monopoly of our roster, alongside Beaka, Seb Wildblood, Wallworks/RZR, Kalpa, iO Sounds, Troy Gunner et al, their work on "Distant Sounds" is a testament to our dedication to steal the cream of the crop of UK talent and release it on the other side of the Atlantic. Tee-hee. Now then, on to the music.
"Move" is probably the sexiest track we've ever put out (barring the dubious sensuality of most Liar trax). "Just a little bit" go the breathy vocal cuts, and the rest of the track complies. Seductive rather than lascivious, it's pervaded by a less-is-more approach that does away with any superfluous element one might encounter in modern clubbing.
"Bourbon Switch" continues among the same lines, albeit being a bit of a punchier, more driving affair. Garage percussion, basslines, house groove, techno gravitas - for anybody familiar with the UK scene, this is nothing new; however, few others juggle these as well, and with as much functionalist immediacy, as Effy do.
On the remix tip, things get mental. Troy Gunner takes "Move" into heretofore uncharted territories - stripping down the track even more, utilizing silence and space to spectacular results, and inflecting a thoroughly alien rhythm. Hound Scales does the very opposite, driving his 'Shade 2 Go' remix hard, plentifully building atop the original into a perfect morsel for those hungry for his unique brand of outsider techno. Distant sounds from distant future, graciously available to you courtesy of Infinite Machine.
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Beginning in 1974, based in New Zealand, the sound-performance group From Scratch used an evolving array of percussion instruments to create a distinctive rhythmic music, texturally rich and tonally sumptuous, making use of found and repurposed objects as well as custom-made percussion instruments.
And while the music has a sophisticated, fluid and intelligent polyrhythmic drive, pitched percussion features prominently, using microtunings and just intonation in tightly structured pieces which evolve and mutate, making use of intricate interlocking of melodic and rhythmic elements. Given their Pacific identity, one can find similarities with a number of Asian Pacific musics, their music will appeal to open-eared listeners interested in such musics, and it will also intrigue admirers of the early
work of Steve Reich and Terry Riley. Formed by Phil Dadson on his return to New Zealand following his late-60s involvement in the U.K.
with Cornelius Cardew's Scratch Orchestra, Auckland's From Scratch embraced an egalitarian ethic, focusing on co-operation, integration,
and the union of opposites. These principles are clearly heard in the music here, with all the players interlocking, with the music exploring and exploding the polarities of melody/rhythm, local/global, group/individual, minimal/maximal. These four tracks, ranging from 1974 to 1982 are propulsive and yet serene, percussive and yet
sweetly tonal, and toe-tappingly alert, an immersive and distinctive soundworld. All tracks here are newly remastered from the original
master tapes, "Passage" was their first recording and is previously unissued.
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Incredible, idiosyncratic and obscure early 80s French futurist DIY project led by Jean-Luc Aime.
This feature-length album of elusive recordings marks the bone fide axis point where Zeuhl-Skool meets synth pop, dark ambient and early electro culled from rare vinyl and disparate cassette co-op releases for this first ever LP release.
A lost art-ifact from a micro genre where ZED, Eskaton and Heldon share outernational tape space with Vox Populi! The Normal, Colin Potter and Luc Marianni this record occupies a unique place on the shelves of fans of early DIY electro and post punk while ticking the boxes of 80s VHS OST enthusiasts and the growing interest in European cassette zine projects. These melodic macabre tape experiments fuse multi-track cassette experiments with home-made special effects at the hand of an accomplished multi-instrumentalist working on the outer reaches of disenfranchised progressive-pop and reluctant techno defining then deconstructing genres that have yet to exist. Fuelled by futurist gothic imagery and operating on a parallel plain to his European and American contemporaries there are few artists like Stabat Stable and virtually none more enigmatic. This benchmark record is the first signpost to a darker part of your musical want-list as the invisible glue for fans of the aforementioned anti-genres. File under Not Yet'.
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Blogs-beatport-traktor suckers: don't ask me why its only on vinyl, it's only on vinyl & basta.Boston's soldier Mr DeViere joins the LNEG insurrection armada. A1: sick 9 minutes of pure overdriven intensity, syncopated fire alarm, DeViere in his most jackin' translation. Incendit.B1: relax your head, caribbean ambient, hammock & vista mare. Very ltd copies, handstamped.
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Collecting orders for repress!
Fodd Dod debut recording is a beautiful portrayal of disappointment - one that could be aimed at anything and could be added onto any situation or relation. Whether it is aimed at the impossible symmetry of male/female chemistry, one's own shortcomings, or the shortness of life, Fodd Dod translates to "Born Dead", the subject of the disappointment is not important - it is not why, but rather how. The six tracks that form the record offer no solution, they dont even hint at one. Track by track "Studie i Narhet, Langtan och Besvikelse" drags you further down, using simple machine drum rhythms and droney synth melodies combined with SARS signature mourns - but with enough skill and enough progression to never lose its aim, without ever becoming stagnant. What separates Varg and SARS' work as 'Fodd Dodd', from many of the "minimal synth wave" projects of the last years genre revival, is that you for once believe in the emotion being transmitted. The project, however similar in approach to other bands, current and past, does not feel forced. So even if the emotional quest of the record is to dwell in disappointment, the record as a listening experience does the exact opposite. The inescapable nerve in the six pieces is so strong, that one ends up feeling captivated rather than disappointed." -Loke Rahbek
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From the Rotterdam harbours come the deep and deviant electronic voyages of Jeremiah R. Electro in classic detroit fashion, oozing with Westcoast gravy. An EP crafted for night to dawn, for the floor and the mental cruise. Cop it and drop it! All with mind-bending screen printed inner sleeve by the BAKK Decency Department.
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Italian DJ/production duo Simbiosi will release a 3-part box set containing fourteen tracks of techno, hardcore and abstract explorations. Loads on here...TIP!
The set includes 'xxxxxxx' (available to stream now on the Werkdiscs soundcloud) and 'Impari' which featured in Actress' recent DJ-KiCKS mix . "The whole series has been recorded at night. Everything sounds better at night", say Simbiosi.
The trio of 180g black 12"s are housed in a beautiful black and white printed card mailer featuring artwork by Euan Duncan. MP3 download code also enclosed.
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There are so many lessons to be taught in life. Through loneliness, suffering and inaccessible places of the heart.
Unspeakable secrets and all that crashing down which leaves no hope, we endure. And as we move forward we learn. Visonia enlightens us with an astonishing EP, a journey into one of the most overlooked emotions, humility. A cold place, uncomfortable and yet so rewarding. Music that makes you strong. Which captures you and soothes you to that secret garden deep inside. Let us take you there.
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with crazy erg the label welcomes a real specialist when it comes to techno, not only that he is on duty for quite a while now, but also because of the fact that ergin karabulut is known for his truth to techno with releases on numerous labels like harthouse, contruct rythm and so many others. his automatic is a sure shot on dancefloors with it`s driving sounds and kicking drumming. on the flip uk`s technobangers spektre deliver a darker and not less powerful interpretation of the original. another record to be found in playlists all over...
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Collecting Orders For Repress!
The mysterious Ekman, aka Roel Dijcks, has been gaining some deserved attention with his terse brand of Electro. With releases on the likes of Panzerkreuz, Solar One Music and Berceuse Heroique, Dijcks has rattled souls with his bare mechanics and cold-hearted sounds. Arctic blasts descend from the outset with his latest for Shipwrec. Frosted coils ensnaring clipped beats, roaming bass lines kept in check by tight drum patterns. Emotion is masked, feelings enveloped and embedded beneath those arrangements of aluminium and steel. Distress is never far from Ekman's work. The flipside jangles with fear and retribution, respites elevating that initial unease into something outright sinister. Anxiety is effect. A brooding boil of ghosting reverb and sharpened percussion from the hooked hands of Ekman.
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Mit dem neuen Songwriting- und Produktionsansatz legt die 40-jährige Steffi treffsicher nach. Auf Power Of Anonymity stehen lässige, melodische Stücke wie - Pip', - Fine Friend' und das breaklastige Titelstück neben geraden, hypnotischen Tanzflächentracks wie - Selfhood', - Bag Of Crystals', - JBW25' und - Bang For Your Buck'. Abgesehen von den Solo-Instrumental-Stücken sticht Steffis Kollaboration mit ihren langjährigen Freunden Dexter und Virginia - das erhebende, perkussive Vocal-Stück - Treasure Seeking' - als wahres Sahnehäubchen heraus.
Genau wie - Power Of Anonymity' als einzelnes Musikstück lebt das Album als Ganzes von einer Industrial-nachhallenden Struktur aus 808s, spitzen Synth-Stichen, pulsierenden Staccati und düsteren, perkussiven Drumbeats. Mit ihrem zweiten Studioalbum erinnert Steffi an klassischen, bahnbrechenden Detroit Electro während sie gleichzeitig ihren ganz eigenen, modernen und retro-futuristischen Klang entwirft.
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Just recently the The 23s, a mysterious one-man-show from the German Nord-Rhine-Westphalia area, launched the second chapter of his career and released 'Flamingo' - another longplayer full of romantic smooth operators. It can be heard as a love-letter to the movie scores of the French 70ees cinema or the impressionistic sound arrangements in early Peter Greenaway movies. You find the head of a double bass in it, discreet piano melodies thrill your senses and gentle horns and beats recollect the warm jazz influenced soul of oldschool hip-hop. Now four globally famed producers laid hand on his sublime get-down-deep instrumental journey and remixed two of his arrangements.
Canadian disco-techno-blender The Mole transforms 'Any Second' into a slow banging sort of trip hop experience, in which you can get lost in a deep echoed background atmosphere.
The now defunct German experimental electronic trio to rococo rot, long-term friends of nebulous The 23s, reworked 'The scene where the car was blown away' and twisted it into a futuristic Balearic trip where Guitars slide cool and rhythms roll unfolded.
Also Gilles Alken aka Edward, man behind the acclaimed White label from Berlin and renowned Giegling artist, fell in love with 'The scene where the car was blown away'. His version is a rattling one with a prominent magic double bass and an average psychedelic atmosphere that absorbs listeners profoundly.
The fourth remixer comes from Cologne. His name is Christian S, he loves twisted grooves and he is deeply in touch with the Cómeme tribe. His choice was also 'Any Second'. In comparison to the one by The Mole his version is racy. Hi-Hats and percussive rhythms provoke movements instantly, while bewitching chords pitch the emotions high. Four remixes by four musically different grounded producers, that all have one in common: the playfulness of the pattern-based The 23s hallucinatory sound world.
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Golden Teacher and the Rough Trade shops join forces to offer new ears the opportunity to hear the Teacher's first three recording efforts on one handy compilation. Recorded between 2012 and 2013 at Glasgow's Green Door Studio through a state-funded scheme for unemployed young musicians, this release documents the six-piece's interest in the willful naïveté of late 20th century "post-" tendencies, leading France's MidiLibre to later describe Golden Teacher as "an idiot-savant prototype of dance music in the 3rd millennium." What that basically means is Golden Teacher kicks ass! They know what makes people dance and they know how to do it. From the acid go-go of lead off track 'Rashomon' you're in for a total treat that takes in the synth funk of 'Love Rocket!', the percussive rumble of 'Double Bump', the voodoo drum machine drenched 'Like A Hawk' and the atmospheric 'Dringhouse' to name but four killer tracks on this amazing set. If you need comparisons think LCD Soundsystem, ESG, Talking Heads, Brian Eno, Pigbag, Trouble Funk, Moroder, DAF and Liquid Liquid. This is the perfect chance to get on point with one of the greatest bands around at the moment and this won't hang around for long.
LP - The LP presents a selection of the band's favorite tracks from these sessions. 7 Tracks but with the full CD Version included.
CD - The CD gathers all material from the three EPs, first released as OM18, OM20 and OM23 on Glasgow's Optimo Music. 12 Tracks and 60+ minutes of music.
01. Rashomon
02. Party People
03. Double Bump
04. Love
05. Castlemilk
06. Silver Chalice
07.Like A Hawk
08. Sweat Bath With Saturn
09. Dringhouses
10. Dante and Pilgrim
11. Golden Chalice
12. Love Rocket
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Cultivated Electronics presents the first in new series of collaboration EP's which see's CE label head Sync 24 joining forces with other artists. The first instalment is with the the dark Electro purveyor The Exaltics (Bunker, Clone, Trust, Solar One etc). Together they serve up 4 moody yet diverse Electro tracks synonymous with the style you would expect from both of these producers.
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SORN002 welcomes another experimental beat maker tot he fold. Asan is likely from another planet. His take on techno is like no other. Expect wild drum patterns, freaky synths and alien grooves. Synth Lord Steve Moore strips things back in a way only he can and creates an arpeggiated synth journey which you'd never tire of, even if it was 45 minutes long!
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Classy but tough - rig hammering Techno from Australia...TIP!
The Label Say "We've had our eyes peeled on Melbourne's Craig McWhinney aka Vohkinne for some time and couldn't be more pleased to finally send off these monsters he tailored for our second release, brilliant production and and a suited follow up to label owner Patrik Skoog's well received premier release a few months ago - Format 12" only!"
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From hefty dancefloor bass-weight on Little Light and T5YC to deep, hypnotic synthwork on Retrospective and Silence, this EP the the perfect balance of dance music and emotional expression.
Meticulously crafted empty space between full kicks and percussion clunks, carefully placed stabs and chords opposite heavy slabs of bass and rumble. This EP has contrasting light and dark all over - the ideal EP for our Brightest Dark Place.
Caldera:
Born in Duisburg, Germany and now based in Brighton, UK, Malte Schumann is a relatively new producer to the electronic scene, but anyone catching an ear-full of his house, bass or techno productions might assume that he had been producing and releasing for much longer.
After 2 strong releases on Berlin-based imprint Sonic Moiré, Caldera was picked up for an EP on the subscription label Cut, and one year later we got him onboard for an EP atBrightest Dark Place.
Alongside the Retrospective EP Caldera also has a 7', a split 12' and an hour-long cassette release planned for 2016 already. Look like Malte is set for big things this year!
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This will be released as a limited single sided 12" vinyl with a silkscreen print on the B side.
2015 looks to be Delta Funktionen's year. Following the terrifically dark and deep Wasteland series comes "A New Planet". A cold electro beat is the bedrock from which a corrupting and corrosive 303 coil grows. But even with this caustic foundation, moments of salvation are to be found. A second techno moon dawns midway, frostier percussion giving way to warmer rhythms. Full and flowing bars fall and rise behind the squawk, allowing a new and brighter element to bloom. A track that is at once atmospheric and club centric from an artist at the top of his game. This will be released as a limited single sided 12" vinyl with a silkscreen print on the B side.
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Ekster is thrilled to present it's first compilation album pressed on a double black 12' 180 grams vinyl. Featuring Polysick, Hiele, Hantrax a.o.
Shut your eyes for a moment and listen to the music of EXO. The day is fully awake and yet it seems the whole world is sleepy. It is this feeling of sultry drowsiness tinged with passion that is evocative of all that is EXO. This record, effortlessly, will accompany you on an imagined journey through a schizophrenic land- and soundscape, where reality surpasses every exotic fiction.
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CP/BW is a collaboration between Corporate Park (aka Shane English/Jonah Lange) and Beau Wanzer. The LP collects material recorded over the past 3 years from various fits and bursts in Denton, TX. It's a slimy hodgepodge of varied influences processed by warped minds and melting hardware, displaying Wanzer and Co.'s unique brand of American electronic madness. BIG!
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Soul Jazz Records launches its new electronic music imprint Sounds of the Universe division with the first of two new albums by Hieroglyphic Being.
Current Wire magazine front cover artist Hieroglyphic Being's debut album for the new label - The Acid Documents - is an album made up of tracks first released last year only ever available in a bespoke edition of 100 copies - in the form of a homemade CD-R - made exclusively for the Sounds of the Universe record store.
This album is now released officially as a one-off edition of 1000 copies on coloured double vinyl, CD and digital, fully remastered with artwork by Japanese artist 2Yang.
Hieroglyphic Being, aka Jamal Moss - who features on the front cover of Wire magazine's current issue - is a DJ/composer/sound artist who makes pioneering, experimental, boundary-pushing Afro-futurist electronic music.
Born and based in Chicago, Moss's music embodies two of the cultural foundation blocks of the city's musical lineage: that of Chicago's original Acid House sound (c. 1986), of Frankie Knuckles, Phuture, Marshall Jefferson et al, alongside a rigorous experimental sound searching that taps into the cosmic musical lineage of pioneering artist Sun Ra whose Arkestra landed and was based in the city from 1946-61.
This association with Sun Ra is by no means hypothetical, having just been in the studio with the Arkestra leader Marshall Allen and a host of free jazz players for the album Hieroglyphic Being & JITU Ahn-Sahm-Buhl's 'We Are Not The First.'
Similarly his relationship to Chicago's original acid house pioneers of the late 80s is no hyperbole. Originally mentored by artist/producers Adonis and Steve Pointdexter, Moss also now runs his own Mathematics label which has released music by foundation acid house pioneers Lil' Louis, Adonis and many others. To quote Moss, 'I am the last of the line of producers directly influenced by Ron Hardy (the pioneering acid house DJ) at the Music Box.'
Moss grew up in the south side of Chicago. After being thrown out of the home of his adoptive parents, he then spent three years homeless living on the streets of Chicago, living a nocturnal existence as a gigolo in Chicago's alternative clubs. He began his career as a DJ at the pioneering Liquid Love parties at Chi-town's legendary Power House (home of Ron Hardy's Music Box) around 1989.
What clearly defines Moss's music is that while sometimes pushing the limits of sound to an ear-splitting dimension of experimentation and DIY-electronics, the music is always clearly a progression of the lineage of black music. In the words of fellow Chicagoans, The Art Ensemble of Chicago, it is simply 'Great Black Music.' And yet in this uniquely defined sound, Moss somehow manages to draw into this world elements of industrial music, German electronic music (Cluster, Harmonia etc), Detroit's sci-fi techno artists (Atkins, Saunderson, Craig) and more.
(The second Hieroglyphic Being album on the new label, under his moniker Africans with Mainframes, will be released on Soul Jazz Records' Sounds of the Universe in January 2016.)
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