Myom – Rhythm & Sound & Drum & Bass (Boom Tschak #19)

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This mix is an 80+ minute exploration into the fusion of drum´n´bass with dub techno & dub. It´s more of a deep flowing, laid-back affair at 170bpm to cool off to. Remedy yourself with a dose of sub bass and chill atmospheres. Listen closely to discover a rare facet of drum´n´bass music.

I try to follow a clear concept with all the mixes that I put out there and I´ve done quite a few that explored the connection of dub and drum´n´bass. The common influence is obvious since jungle started using reggae basslines and dub production techniques 25 years ago, which spawned all sorts of obvious and less obvious connections.

But it is rare that dnb productions take an inspiration from what techno did with dub since the 90s. Probably timing was an issue too: Dub techno became unpopular just a little while before the explosion of dubstep became the major influence for dnb artists, who experimented with more minimalistic structures and room for sounds. As a result a certain flavour of halfstep and autonomic dnb became an interesting playground for innovation in the late 2000s, but it had little to do with dub techno.

So I searched for tracks at around 170 bpm that deliver a certain sound: Not too dark, negative or aggressive, but not too much reggae-warmth either, rather a digital cool. Tracks also had to shift their focus away from heavy beats to the dub elements but also not fall into the halftime dub area. So this mix sits somewhere in between the minimal dnb scene, that still uses typical dnb beats and the ambient scene that has abandoned beats completly.

I never was and probably never will be a big techno fan in general, which means I only listen to a very small fraction of what´s out there, so my observations might be flawed. But I´ve always liked the Berlin-centered dub techno scene around the Hard Wax store, producers Ernestus and von Oswald with their many aliases (Rhythm & Sound, Basic Channel…) and labels like Thinner and Scape. Today in drum´n´bass we have Samurai Music Group in Berlin, which incorporates influences of this particular sound in their releases, but mostly explores very dark atmospheres. A more fitting output between techno and dnb comes via the Hidden Hawaii label. Nordlabel, that is featured with tracks by Dissident, is also from Berlin.

In its entirety not all the 85 minutes are dub techno influenced, but most of it is and it all comes together nicely, I think. If you know any interesting dub techno-influenced tracks at 170 bpm that I missed, let me know!

Tracklist:
01 Nether – Sunset Dub [Cylon]
02 Felix K – Flowers of Destruction #4 [Hidden Hawaii]
03 Dissident – H2Oil [Pinecone Moonshine]
04 DB 1 – Vanguard [Hidden Hawaii]
05 Dissident – Visible Spot [Nordlabel]
06 Nether – Glacial Dub [Space Cadets]
07 Martsman – Static [Hidden Hawaii]
08 Nether – Dimensional Space Jazz  [Deep Soul Music]
09 Overlook – Travelling Without Moving [UVB-76 Music]
10 Elemnt – Circle of Light #2 [Hidden Hawaii]
11 Dissident – Solvent 1 [Nordlabel]
12 Overlook – Clouds  [31 Recordings]
13 Pessimist – The Woods [Samurai]
14 Felix K – Flowers of Destruction #2 [Hidden Hawaii]
15 dBridge – Trinity Ville [Cylon]
16 Clarity – Fog [Samurai]
17 Dissident & Cyberworm – Octoplane [Delta 9]
18 Flxk1 / Wan 2 – A1 [Hidden Hawaii]
19 Theory – Babylon Dem (Dubmonger´s The Drum Machine Museum Rmx) [Translation]
20 Dissident & Cyberworm – Tusk [Kos.Mos Music]
21 Loxy – Politicians [Soundium]
22 Calibre – Blackhole Dub [Signature]
23 Totally Unknown Artist – Tierdrub (Dominic Ridgway) [—]
24 Nether – Deep Echo [31 Records]
25 Dubmonger – Radiowaves [Dubmonger]
26 Morphy – Myrrh Dub [—]

5. Juni 2017 | Boom Tschak-Podcast, Myoms Mixes, Podcast |

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Three in the Jungle @ Villa Wuller

DJs: Breakslinger, Myom & Kozstum
Sound: Jungle, UK Hardcore, Drum’n’Bass
Einlass: 23.55-05.00
Open End
Eintritt: 5€
mit welcomeCard bis 0.30 Eintritt frei

Yes, Yes: Ich freu mich schon sehr darauf, mit Kosztum und Breakslinger eine Nacht im Jungle zu verbringen und uns quer durch 25 Jahre britische Breakbreatmusik zu spielen und den verspielteren Jungle-Beats den absoluten Vorrang zu geben.

1. Juni 2017 | Events |

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Binary Patina 2 – The Live Performance

Here is an (almost complete) version from the live performances of our ‘Binary Patina’ project at Irminenfreihof Trier from 23rd and 24th October 2015 (buy the album on Bandcamp).

‘Binary Patina’ was the title of a series of two audiovisual live-performances that were staged as facade projections of over 800 square meters in size. For the second installment of ‘Binary Patina’, the at the time unused former Prosecutor’s office of Trier, Germany, was used as the canvas for a dynamic pictorial layer that addressed the threat of global surveillance in the digital age: Audio-visual samples of contemporary discourse, historical data on US drone strikes from the Dronestream API (banned by Apple), excerpts from the Snowden leaks, maps and 3d-renderings of NSA´s Dagger Complex near Frankfurt and GCHQ headquarters in the UK, partially obscured beyond recognition, were synthesized with the music and real-time-generated visuals.

Unfortunately it is extremely difficult and expensive to film projection mappings such as ours. So the video does not recreate the live experience at all, but gives an impression about what we did. If you like the album, it might also be interesting to listen to some earlier version from some of the tracks.

1. Juni 2017 | blablablub, Event-Reviews | Tags: keine | Kommentar schreiben »

Some Personal Thoughts on Binary Patina

In addition to the official information on the homepage, here is my personal perspective on our album ‘Binary Patina’, which sees its release today in all major stores (click here for Bandcamp). The text also answers the question, why so much time passed since the events.

The whole project has been in the works since late 2013. It has been a fantastic and rewarding experience to work on this beast with JeongHo Park and my long time musical companions Flextronic and Breakslinger, but partially it has also been a painful process (binary as well: joy and pain), so on many levels I´m happy to present its final form now.

‘Binary Patina’ was the title of a series of two audiovisual live-performances that were staged as facade projections of over 800 square meters in size. For the second installment of ‘Binary Patina’, the at the time unused former Prosecutor’s office of Trier, Germany, was used as the canvas for a dynamic pictorial layer that addressed the threat of global surveillance in the digital age with a musical live perfomance and real-time-generated visuals.

The First Version – Ephemeral as it gets

The first installment of ‘Binary Patina’ was developed in 2013 only 6-7 weeks prior to the event, which was impossible, but we somehow pulled it off, sacrificing quite a few sleep-deprived nights. It ‚only‘ consisted of an intro and 8 tracks and ran for 21 minutes as a purely audiovisual experience and was only performed once on October 30th 2013.

We didnt see the show properly with our own eyes, because we stood on a low stage with a very low ceiling, so we were eager to see the recorded material. But there were only a dozen decent photos and the videos from all four cameras were almost completely unusable and didnt give any decent impression of what happened that night. We used a few bits in the teaser trailer for BP2.

After putting so much effort into it, we were bitterly disappointed, even though we knew, we could hardly blame anyone. Local media and a lot of people were really raving about what they had experienced, but we somehow felt out of touch with the whole thing.

In the following months JeongHo worked on an app version for some time, but somehow I was reluctant to work on BP. This would have been necessary though, because at the time of the performance, most of the tracks only ran for around two minutes and needed a lot of effort to develop into full tracks. But as other projects needed my attention in 2014 (like the A.H.A. album), I didnt spend much time on developing ‚Binary Patina‘ any further.

Going Back in for BP2: Refining the Concept

In spring 2015 we were asked to do develop a new version of BP, but this time six months in advance. Although it took quite some time, until the location was finally decided (at first we were asked to do the Porta Nigra). I asked Breakslinger, if he wanted to join as a third musician, which proved to be a valuable addition. We sorted through the old material and started to write new one music as well, this time aiming for a show of around thirty minutes.

I felt the project neeeded a concept beyond mere audiovisuality. So as I´m deeply concerned with the development of the internet and digital society and we were still in the wake of the Snowden leaks in 2015, I thought that it might be a good opportunity to work on themes of global surveillance. The facade of the former Prosecutor´s office also seemed a suitable location for this. And using a transmedia format to address this internet-based and all-encompassing threat also seemed like a promising endeavour.

For one thing, I wanted to incorporate relvant data into the visuals. For example, we used historical data on US drone strikes from the Dronestream API (banned by Apple), excerpts from the Snowden leaks, maps and 3d-renderings of NSA´s Dagger Complex near Frankfurt and GCHQ headquarters in the UK, partially obscured beyond recognition.

As I knew, the concept would also have to translate to the pure audio form on the album, spoken or sung words would also be necessary. I had always been fascinated by audio-visual-sampling, from the early pionieers of the Emergency Broadcast Network or Ninja Tune´s Hexstatic to contemporary artists. So I researched video footage of contemporary discourse for significants bits, that could be used as spoken word samples. Some are well known, like former NSA Director Michael Hayden admitting that „we kill people based on meta-data“ (but no Americans, so his audience wasnt alarmed), which can be heard on the track Auto-Kill Dub.

The format of the concept album seems to have fallen out of time as people nowadays consume music as individual tracks in playlists (or in mixes, like I do a lot). BP hopefully is received (at all and) as a very diverse album, but still cohesive enough to be regarded as a concept album and not just a compilation of tracks.

Staging BP 2

BP2 was performed three times in October 2015. We did a lot more live than the first time and had an even more complicated setup. For BP1, we had stood behind the crowd, so noone knew, but this time, we were right below the projection and also illuminated and the intro credits also said „live performance“. Still people didnt get it. We refrained from using live footage of us in the projection, but surely it would have helped.

As it´s pretty hard to rehearse a show like that, because of the high cost of the projectors and the use of a public square. We only had one evening to test the visuals a few weeks before the event. So in the end we ran into a few technical problems and some things didnt work as planned. A colleague asked me, why we didnt just render the whole thing (audio and visual) beforehand. My answer is, that almost all similar architectural projection mapping projects do this and that realtime and uniqueness adds a certain quality for the maker and for the recipient.

I must admit, that I had just rediscovered that a little earlier: After few years of only going to clubs and electronic shows, I went to a my first real live music concert again in 2014. It was NIN and their audiovisual show was nothing more than breathtaking. I was completely flashed. Important to the whole experience was, that it wasnt all studio quality, but had the minor drawbacks of a live show (although we´ve come a long way, if you think about what electrified bands must have sounded in the 60s without monitoring or remember how they still did in the 90s).

Regarding the video documentation, we only made a little progress the second time around. We had tried to ensure beforehand, that there be put more planning and effort into the video documentation, which actually was, but the end results were still far from perfect. There are a lot of tricky technicalities you have to regard and specialists couldn´t be hired, because of the already high cost of the whole event.

So as our plans crumbled again, we decided in early 2016 to reshoot footage indoors to somehow combine it with bits from the live event, but we weren´t totally satisfied with the results. Some of this material can be seen in the music videos for ‘Pocket Watcher’ and ‘Panopticon’, the live footage is in the respective video. As we finally had to admit, there weren´t too many possibilities to work with the visuals, we focussed on developing the tracks for an audio-only album. Personally I went through one of the worst years of my life, so I wasnt able to finish working on the tracks until the end of 2016. With the ensuing mastering process and scheduling the release itself, it took us until May 2017 to now finally come to an end with ‘Binary Patina’.

About my Tracks

I discovered that I can work guitars into my productions really well, when I created my A.H.A.-soundtrack album in 2014/15. As a teenager I almost exclusively listened to guitar-based music, along with some HipHop before discovering electronic music in my early 20s. So I probably like my guitar-based tracks so much, because they give a more holisitic representation of me.

A few of my musical ideas were closely tied to the visuals (‚Transcend‘ for example) and lack something if only listened to, at least in my opinion. At the time of release, I´m most happy with ‚Auto-Kill Dub‘ and ‚Word of Advice‘ with Semuta on vocals. We tried to end the album with a hopeful outlook. We tried to achieve this by placing two tracks at the end of the album that reference the counter cultures of the 60s and 80s.

‚Patina‘, the second-last track, has this kind of post-punk feel to it and includes this call-to-action-sample of Annie Machon, a former MI5-Whistleblower. ‚Word of Advice‘ as the ending track is fundamentally dubstep, but uses all these 70s counter culture references in the instrumentation and sounds. Together with the intro sample and Semutas lyrics this should bring the message across, that we can join as an opposing force and try to revive the success of the historical social movements for the 21st century.

12. Mai 2017 | blablablub | Tags: keine | Kommentar schreiben »

Binary Patina – Album Preview #2

We will release our concept album ‚Binary Patina‘ on May 12th (pre-order on Bandcamp). Here is a video preview of the non-dnb tracks. Dnb can be found in preview #1. Check the homepage for all the info: www.binarypatina.de

5. Mai 2017 | blablablub | Tags: keine | Kommentar schreiben »

Binary Patina – Release Party

tempo90 @ Villa Wuller!
DJs: Myom, Semuta, Breakslinger, Benedor, Crocket

Samstag 13. Mai 2017 ab 23.55 Uhr
Villa Wuller, Trier

Im Mai wird zum Drum´n´Bass in der Villa etwas Besonderes gefeiert: Myom, Breakslinger und tempo90-Urgestein Flextronic mit Semuta an den Vocals veröffentlichen am 12. Mai ihr Konzeptalbum ‚Binary Patina‘. 15 Tracks decken auf über 70 Minuten verschiedene elektronische Genres ab, darunter natürlich auch Drum´n´Bass.

Die Musik entstand urprünglich zu zwei Großfassadenprojektionen, die 2015 als Liveperformances aufgeführt wurden. Zur Party wird es einige der Visuals zu sehen und ausgewählte Tracks des Albums zu hören geben. Und: 50 Gäste bekommen einen MP3-Download des Albums geschenkt!

Wer nicht soviel Glück hat, findet es in allen üblichen Online-Stores (Bandcamp, iTunes, Amazon, etc.). Alle Info gibt es auf der Homepage  www.binarypatina.de.

An den Decks steht die ganze tempo90-Mannschaft und freut sich auf eine durchtanzte Frühlingsnacht!

30. April 2017 | Events, tempo90-Events |

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Binary Patina – Album Preview #1

We will release our concept album ‚Binary Patina‘ on May 12th (pre-order on Bandcamp). Here is a video preview of the first couple of tracks. Check the homepage for all the info: www.binarypatina.de

27. April 2017 | Tracks | Tags: keine | 1 Kommentar »