Switching within digital binaries, analogue flux, and all forms of degradation in between, a creature is kickstarted to life, as if awoken with locomotion’s full might. Helena Hauff delivers a mix for Tresor’s Kern series, lashing together a sound world with a potent barrage of industrial dance music. Helena Hauff and Morah, Umwelt, Machino, Galaxian and L.F.T. all contribute with five previously unreleased tracks, exclusive to the compilation. Rare titles are also featured, such as the late Curley Schoop’s “Mayhem” under the name Esoterik, “City Of Boom” by DJ Godfather & DJ Starski, Nasenbluten’s “Intellectual Killer“ and “After Dark” produced collaboratively by Andrea Parker and David Morley.
First full EP by Helena Hauff on Return To Disorder. Electro stuff, s alright, nothing more to say really.
Qualm has a duality that Helena Hauff enjoys – The German word translates as fumes or smoke, whilst the English meaning refers to an uneasy feeling of doubt, worry, or fear, especially about one’s own conduct. True to form, the record is unapologetically raw and finds Helena returning to her original modus operandi – jamming on her machines, trying to create something powerful without using too many instruments and layers. By design, the 12 tracks are raw, distorted and lo-fi, with Hauff peppering heavyweight, redlined drum machine beats – think wayward Chicago jack, laidback electro and nails techno – with a mixture of razor-sharp acid lines, moody industrial textures and drowsy chords. The clattering intensity of the album’s dancefloor moments is in sharp contrast to the creepy and evocative, soundtrack style electronic soundscapes showcased elsewhere on the album. These – ambient in ethos, but more experimental in tone – are frequently amongst the set’s most inspired moments.
L.F.T., Marc Ash, Morah and Helena Hauff are combining forces to pollute the world with a little bit more banging industrial techno on the latest Return To Disorder release.
We are taking a week off and escaping the cold Romanian weather to enjoy the warm climate of the Middle East. We will do some travelling around Israel and Palestine (the West Bank), visiting some remote locations, the Dead Sea, the desert and also cities.
Analogical Force drops the third and last part in the voiceless series taking no prisoners. For this EP AF mastermind Pervert has teamed up with incendiary friends to deliver a must for the collectors of the label. Heavy line up that includes the Hamburg’s well respected Helena Hauff, Zurich’s acid lover CCO (50% of Savage Grounds), the legendary UK techno imprint B12, Canada’s Suction Records co-funder Lowfish and Utrecht based Endfest. Stunning 5-track record with loads of acid-drenched techno, super wide basslines, melancholic pads, slamming 808’s…enough to fill brains as well as floors. This release is dedicated to Rhys Celeste.
Dark Entries present ‘A Tape’, a double LP of early work by Helena Hauff. ‘A Tape’ is a compilation of Helena’s earliest recordings from 2011 and 2014, originally released on limited cassette by Handmade Birds in 2015. Clocking in at over 50 minutes, this collection spans Hauff’s musical universe, from jacking acid-techno to krautish zone-outs and scuzzy feedback interludes. It’s tempting to consider it Helena’s debut album, but she views these tracks as mostly forgotten sketches left on the cutting room floor. It a gripping collection of deep, sinister analog synth sequences, industrial dissonance, and heavy percussion. Her equipment set up was a Roland Alpha Juno 2, Juno 60, TB-303, TR-707 and TR-808. Both of the discs end with Hauff stepping outside of the intentionally stiff, robotic rhythms, instead showing her skill at crafting less conventional electronic sounds.
Driven by the common 80’s DIY-attitude, the 4th Is The Way release happens to be a cooperation for an absolute one-side vinyl, Shinoby vs Hypnobeat (James Dean Brown + Helena Hauff). The one-track (9:19min) is rooted in the concept of a ‘neo-tribal’ approach; compressing electronics into an emotional, hypnotic and rhythmic core. The energy and the emotional impact of polyrhythms and the track turned out to be centered around the inimitable sound of the Roland TR-808 plus a wide range of analogues gear including up to eight synchronized rhythm machines
Following the recent release of So Low, a compilation of early ‘80s synth, industrial and cold wave classics and undiscovered gems curated by Optimo’s JD Twitch aka Keith McIvor, The Vinyl Factory are set to release specially commissioned remixes of two tracks on the 16-track compilation by rising UK producer Powell and Hamburg’s Helena Hauff.
Signs of Decay: Acid Compilation with dirty and hard acid cuts by Ekman, The Exaltics, Helena Hauff, Perseus Traxx, Drvg Cvltvre and a artwork made by Godspill. A powerful collective statement on the desiccation some “hard and dirty acid tracks” can do to a dancefloor. Don’t come here looking for any lofty concepts, this is just five of the best banging their boxes in the name of all that is grotty and lysergic.
Dekmantel launches Selectors, a new intimate festival and a compilation series. The concept of Selectors focuses heavily on Dekmantel’s support for the art of DJ’ing, celebrating the extra-ordinary DJs that turned collecting and playing music into an art form. The festival will take place at the Garden Resort in Tisno and will host just 1500 people with amongst others Aroy Dee, Carlos Souffront, Helena Hauff, I-F, Traxx, Intergalactic Gary, Juju & Jordash and Motor City Drum Ensemble on the bill. The latter is also responsible for the first Selectors compilation.
Golden Pudel’s DJ-turned-producer, Helena Hauff, returns to Actress’s Werkdiscs with her debut LP. Compared to her last effort for the label and her banger of an EP on Lux, Discreet Desires spans across much vaster landscapes, and while we knew that she was heavily into Detroit electro, the album is heavily focused on fast, broken beats brimming with synths. “Spur” and “Funereal Morality”, for example, are a pair of Drexcyian bombshells, while “Piece Of Pleasure” clearly takes inspiration from Kraftwerk and the resulting synth pop wave. Instead, “Silver Sands & Boxes Of Mould” showcases her more experimental side thanks to its cinematic soundscapes and sparse beats, along with the beatless sway of “Dreams In Color”. A fine debut LP that cements Hauff’s position at the vanguard of current electronics.