Djedjotronic blasts us off on an interstellar journey with The Great Red Spot EP, the ninth release on International Chrome. Named after the ancient and gigantic storm on Jupiter (bigger than the Earth), the EP is similarly massive with a swirling, constantly moving energy. Includes a Jensen Interceptor remix.
The sixth edition in the Exit Planet Earth vinyl series features another four track V/A courtesy of Extrawelt, Djedjotronic, Ste Roberts and Ivna Ji.
2020 was a tough year for almost everyone and definitely a year to forget for our scene. Events and gigs canceled, venues closed, artists lacking a way to earn a decent living and club culture facing a threat like never before.
In the midst of these events were several people / organizations who tried to ease the pain, offering out some comfort by releasing music to people for free or by pay as you want download. This was always done, but this year I noticed that more and more artists are doing this.
Here is a selection of albums and compilations I came across this year and that I think is worth mentioning again.
Arnaud Rebotini started to give away free tracks on his soundcloud page a month ago in his “Quarantine” series. Since then he release 8 EP with tracks by himself and remixes from producers from all around the world. “To (Wo)Men On The Assembly Line”, the last EP of the series, is including an original and 6 remixes from David Carretta, Djedjotronic, Jensen Interceptor & Kris Baha, Max Durante and Perel.
“We are now in our last week of strict confinement. So I’m going to interrupt this weekly EP series but with the eight title, I want to pay tribute to the women and men who have allowed the country to continue to operate during this period. But also to all those who will resume their work in factories, in the construction, food processing and services that will boost the economy, often in jobs that are poorly regarded and low paid but so essential to the functioning of our society.’
Launmomentdat in parc is a multicultural experience in the form of concerts, shows, exhibitions and film screenings that will take place between 7-9 June 2019 in the People’s Park in Timișoara. The festival includes a musical program on three stages, exhibitions, workshops, film screenings, theater performances, sports and dance activities.
This year the festival is part of the Saison France-Roumanie 2019, so there are many French artists, like the electro-house veteran Cosmo Vitelli, Zaltan from Antinote and his partner Raphael Top-Secret or the electronic maverick Djedjotronic, who provided one of the best album of 2018. Besides them, is also the Swiss DJ Sassy J, who is doing her Patchwork nights for 10 years now.
These kind of artists are not very often seen in line-ups at Romanian festivals and I’m very happy to see this in Timișoara.
Timișoara will be the Cultural Capital of Europe in 2021, so they are supporting these kind of events … and bwt the entry is free 🙂
With just a few days from the current year left, I’ve compiled a list of 20 albums from 2018 that I enjoyed this year. Among these I have to highlight the much anticipated Mutant Beat Dance debut album, the first ever album from Gerard Hanson under the E.R.P. project, a new Gerald Donald project and a compilation of unreleased Heinrich Mueller remixes, a Silent Servant follow-up on Hospital Productions, a very interesting Fred Ventura compilation of unreleased house tracks, a new Lebanon Hanover, the beautiful debut album of Curses, the impressive Eindkrak album and the debut album of the Romanian producer Șerb.
The list is compiled in chronological order.
Eindkrak – Brullend Staal [Unknown Precept]
Djedjotronic Aka Jérémy Cottereau drops an icy 4 track Electro cut for CPU. There’s a clear Drexciyan influence here with plenty of dystopian drama but things are disrupted with the likes of ‘Tunnel’ serving up raw 4/4.
On his new album “R.U.R.” the Berlin producer Djedjotronic lets the cold machines have warm heartbeats, and vice versa. Recorded in a basement in southern France Owns “r.u.r.” A collection of techno-futuristic themes on modern isolation, robotics, simulation and cyborgs. The most aggressive dancefloor moment is undoubtedly “Take Me Down” featuring Douglas Mccarthy (Nitzer Ebb) on vocals, an industrial arpeggio monster track.
French producer and RAAR co-founder Maelstrom makes his debut on CPU with ‘Alph4’, a seven track electro-leaning mini LP of one-take recordings. Maelstrom’s sound on Alph4 is comparable to Aphex Twin’s more restrained Analord output. Focussed, highly detailed production alongside an abundance of evocative synth melodies will ensure these tracks become firm favourites with forward thinking DJs and electronic music fans.
The Zukunft (future) is over. The machine-dreams has been dreamed, the future shock has lost its terror. Compared to the complexity and contrariness of our technologically advanced presence, the utopias and dystopias of the last century has become a vague description of the here and now. Total monitoring? Check. Cyberspace? Check. A man on the moon? Check! We tried to achieve the future so fast, that our thinking could hardly keep up with it. Newer than now? Difficult to imagine. Also and especially not when it comes to electronic music. The new arises from the old, a well-established method since the brainchild of sampling, gets a whole new quality in an interconnected world. The linearity of time crumbles away in our unlimited digital archives, in which styles and cultures, movement and countermovement are collocated, ever-present in unison. It is sufficient to regroup the set pieces from the past and the present over and over again to connote the new, the forward direction.
Tesla286 just does not do that. The well-known stranger, whom self-mystification just fits the mould every bit as his synonym, stops the clocks and takes a look back. He simulates a past where the future still had a future. The 11 exact electro-replicas of the current album move within the realms of a tight historical framework, somewhere between Asimov, Dopplereffekt and mid-nineties Detroit.
With ‘Umlaufbahn’ we will be absorbed in the magnetic atmosphere of a planet. ‘Tesla’s Oscillator’ clearly cites Herbie Hancock’s ‘ Rockit’ from 1984 and is reminiscent of the futurism of Detroit-electro-wave from a beat of another decade. The title track ‘Zukunft’ presses every button in the science fiction narratives between Star Wars and the subaquatic warriors of the Drexciya universe. The cold machine rhythm of the hypnotic tracks lead us back again and again to the fears of a generation, which mistrusts and simultaneously promotes technical progress. Not before ‘Meteorite over Pankow’ strikes a more optimistic tone, which originates from overlooking the imminent extinction of the human race (or at least of Berlin).
Tesla286 has created a fan-fiction version of a long-gone era with ‘Zukunft’, which reflects our own nostalgic look on the once-upon-a-time-future. We pinpoint that our discomfort over the consequences of the technical progress didn’t really change over the last few decades. There is almost a comforting hint to the power of fear over the new, a stabilising human coefficient, which makes this album so newsworthy.