We are living in precarious times. A senile, racist old man prone to temper tantrums has his tiny hands on the controls of the most powerful military machine the world has ever known. A handful of his (no less dangerous) international business associates and personal friends possess more collective wealth than the rest of us put together. The oceans and forests of the planet are dying slow deaths by asphyxiation, force fed 300 million tons of plastic garbage every year, and the temperature, both literal and rhetorical, rises the world over with each passing day. The formerly quaint ritual of rolling out of bed and reading the morning news over a cup of coffee is now an act reserved only for true sadists. To start each day being reminded that we have wilfully engineered a reality of such profound injustice and utter stupidity is enough to make the blood of even the most devote pacifist boil with rage. Rage in of itself however is the most dangerous of emotions. The burning torch of the riot and the mob. If the results of it’s expression fail to provide at least the possibility of change for the better, then the rantings and ravings it fuels are worth little more than the breathe spent delivering them. Hope then, it seems, is the key to allowing us to carry on in the face of so much non-sense. On his latest studio album, we find Scott Monteith aka Deadbeat ruminating with hard earned wisdom and confidence upon this very notion.
The album began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided before hand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years. As so often happens when good conversation is shared among good friends, the results are as surprising as they are inspiring, spanning original prose, dialectic word games, and timeless quotations in six languages. Each song on the album was then composed around the content received, and named after the people who did the speaking. Ranging from the overtly political to the tenderly inspirational and many points in between, Wax Poetic For This Our Great Resolve provides verbal expressions of hope as diverse and rich as the experiences of the people who so generously delivered them.
Musically the album sees Monteith taking his well honed sound design abilities and wide screen arrangements to new heights, and exploring a deep interest in traditional analog recording methods to mesmerizing effect. Every sound on the record, whether generated from his tried and tested array of software based tools, or from the enormous collection of guitars, organs, pianos, and percussion instruments found in the Berlin based studio he now calls home, was recorded via microphone. Even as the very first track slowly fades into existence, it’s clear that the smoke filled atmosphere of the place has penetrated the recordings to their very core. Indeed, it is no understatement to suggest that without the physical confines of the magical studio Chez Cherie, and the countless late night conversations and musical input from all the other beautiful souls who occupy it (T. Raumschmiere, Ben Laubner, Tilman Hopf, PC Christensen, and of course Cherie herself), this latest Deadbeat album would have been an impossibility.
Though it may be his name alone on the cover, Wax Poetic For This Our Great Resolve is a document of the power of community. If the resulting recordings are any indication, a great deal of hope it seems is still to be found in the simple act of getting together with good friends, and celebrating all that we share through words and music. At a time when the technological and political powers that be seem so dead set on seeking to divide us, this sense of common purpose is more important than ever.
The trio known as Fink (Fin Greenall, Tim Thornton, Guy Whittaker) spent much of the winter and spring riding lasting acclaim for 2014’s Hard Believer whilst touring the USA and pretty much everywhere with a venue in Europe. This May, they return with a collection of re-works on ‘Horizontalism’, casting a shadowy electronic filter over the the original LP’s edgily dulcet tones.
Now they present single ‘Fall Into The Light’, a glitchy, echo-laden gem from ‘Horizontalism’ released alongside three remixes that each lend a decidedly different flavour. Berlin’s Prequel Tapes stretches notes to new, metallic lengths in a constantly evolving and unfolding ten-minute re-work. Panorama Bar resident and Perlon artist Margaret Dygas reduces the track to its most hollow, but steadily beating core, delivering pure art as a result. Deadbeat adds elements of Jamaican dub to lighten the step but not detract from the mood.
Watch the videos for Margaret Dygas and Prequel Tapes remix below. Buy the EP now exclusively on Beatport.
‘A Mental Process’ unveils Moreon & Baffa’s fluid and organic house style for the Visionquest imprint after releasing on their special edition vinyl series earlier this year.
“These tracks came while we were in a deep search to capture the essence of what attracted us to electronic music and put our flavor in it, merging the results of our cultural background with the results of our constant music research. Visionquest has been a point of reference for us since their early beginnings so it´s the final & starting point of a creative & artistic circle.” Morean & Baffa
‘Penzar’ is a bubbling broth of dubby beats while ‘Idea’ is a seething and intricate being, best heard loud and up close. Remixes come from Greece’s Ion Ludwig and Deadbeat, both acclaimed for their refined and textured dance music style that complements this release perfectly.
3. Penzar (Ion’s Drive Stab Dubnology Quest For Visions)
4. Penzar (Deadbeat remix)
Gustavo Romano & Emidio Falconi are Moreon & Baffa. Originally from Venezuela, South America, they relocated to Barcelona in 2011. They have been close friends since the turn of the century, tirelessly working with the underground electronic scene in their home country – one a producer in the only 100% underground dance music radio show and the other a sound engineer and member of one of the most influential trip-hop, experimental bands in Latin America, Sur Carabela/ Chucknorris. They are known for exposing a unique, avant-garde music selection for the last decade, building a serious reputation as fearless architects in the art of DJing and also as vinyl librarians.
ION hails from Greece and has been releasing his epic soundscape music characterized from its underground minimalism for over twenty years.
Deadbeat is Scott Monteith, an adopted Montrealer who has been releasing dub laden minimal electronics since 1998. He has performed at some of the world´s most respected festivals, including Barcelona´s Sonar, Berlin´s Transmediale, and Montreal´s own Mutek.
Since her first single "City Watch Over Me", Seattle-born and Berlin-based Camea is one of the most emerging artists on BPitch Control. After her dub/electronica contribution "Love On The Balcony" for last year’s "Where The Wind Blows" compilation, the latest "Neverwhere EP" encourages her sense of space-filling grooves and perfectly shaped melodies. Now appearing with four remixes, all interpreta- tions show and add new facets to "Neverwhere".