Showing posts with label Harthouse. Show all posts
Showing posts with label Harthouse. Show all posts

Tuesday, January 8, 2019

Alter Ego - Alter Ego

Harthouse/Harthouse America: 1994/1995

Even with their name right there as the album's title, I doubt most folks would believe you if you told them this was Alter Ego's debut. Oh, the old heads know, though they tend to skip straight to Decoding The Hacker Myth for their Must Have Alter Ego Records Of The '90s; Acid Jesus too, if they want some straight-up techno. Heck, even if folks are savvy enough to know Alter Ego started out on a more chill bent, I'm sure they'll name-drop the album they released before this one (The Primitive Painter as The Primitive Painter) as the more interesting of the two, if nothing else because of how unknown it is (gotta' show off that trainspotter savvy).

Thus in a discography that includes IDM, techno, tech-house, minimal tech-house, electro, faux-electro, and some acid too, Alter Ego stands alone, more a remnant of the ambient dub era of downtempo music than anything Misters Wuttke and Flügel would go on to do. For sure they put their own spin on the sound, but by and large most folks instead regard this album a chill-out option within the early Harthouse catalogue, a companion piece to whatever mellow moments Ralf Hildenbeuten, Oliver Lieb and B-Zet were providing the label. Aside from the laid-back acid vibes of single Soulfree, little from here gets brought up when discussing Alter Ego's body of work.

Well, poo on them, because I quite enjoy Alter Ego for all those reasons! Yeah, it owes a fair deal to ambient dub, but that gives their music much warmth over their more clinical excursions into music-making. If anything, I'd bill this stuff as 'lounge techno', the sort of music you could imagine being played out at a dimly-lit coffee shop while relaxing on a sofa, a warm mug of your favourite caffeinated beverage simmering nearby as you contently flip through some old novel, its spine withered from repeated usage. No, I'm not basing that off the one track titled Sentimental Books, why do you ask?

As mentioned, Soulfree was the lead single, a wonderfully downtempo outing of deep acid grooves. Atomic Playground plays up to its namesake, a playful little ditty of acid, jazz, and dub, while Chinese Eyes lazily bobbles along with dubby acid and lushly warm pads. For those who need their Alter Ego a tad more upbeat, the thirteen-minutes of Nude Restaurant works a nifty, rolling oscillating rhythm as acid and synths percolate throughout, while Tanks Ahead shows off the duo's funkier side of acid electro (small wonder The Black Dog tapped this one to remix). And as is required of most techno albums of the day, we get the obligatory ambient closer in Undersea Girl, about as warm a piece of ambience as I've ever heard from anyone of the era, wrapping you in thick blankets of synthy timbre while spacey acid bubbles to the ocean surface from Atlantian depths. Yes, I've had this album so long, it's practically painted canvases within my brain matter. How it do?

Sunday, July 2, 2017

Jiri.Ceiver - Head.Phon

Harthouse: 1995

Jiri.Ceiver strikes me as one of those techno producers that could have gone down as Very Important, had things gone just slightly differently for the chap. For sure appearing on Sven Väth's lauded Harthouse print gave him plenty of exposure, but he had some tough acts to follow from the label's opening salvo (Hardfloor, Spicelab, Der Dritte Raum, Alter Ego, Koxbox). Couple that with the fact Frankfurt's brand of techno was coming off a tad dated by 1995, the blistering BPMs and hypnotic melodies falling out of favour in lieu of the functionalist warehouse tools Detroit and Berlin had started cranking out. Harthouse was finding ways of adapting with these changing trends, stating they sought producers on the cutting edge of “creativity and experiments that do not necessarily originate from the Techno/House scene.” - essentially an “idea tank”, though clearly they couldn't commit full-stop to the manifesto, the IDM wonks leagues beyond anything Väth's label would churn out.

Head.Phon comes close though, for good and ill. One Arno Paul Jiri Kraehahn was already an odd sheep out of the Harthouse flock, his debut single Multiplex a weird mishmash of Frankfurt techno and bleepy electro. He followed that up by getting deeper into the acid action (Hardfloor's influence was inescapable), but eschewed anything remotely resembling a hook or melody in the process. He was on a mission to feed you weird machine sounds whether you liked it or not, functionality be damned. Hey, not a bad idea, as techno had gained a reputation for being dominated by mechanical fetishism, though always in a far-flung futuristic aesthetic, not as a contemporary sound – wasn't that what Industrial was for anyhow?

Maybe Head.Phon would have been better received with that in mind, making no illusion you're in for a challenging trip into the experimental side of techno. Half the tracks are sonic doodles and abstract noises, some like Isolate, Retrospect, Sleeps, and Tne Poise so minimalistic and quiet you'd be forgiven in thinking the CD had prematurely stopped playing. What even is the point of these? I'm not gaining any deeper appreciation for electronic abstraction with them, and musique concrete was hardly in need for a revival in the '90s when so much else kept pushing electronic music forward. They honestly come across as begrudging filler to reach a full-length album, as the main techno cuts weren't enough.

And as for these, they're a strange, esoteric bunch. Hvb and Vacui offer up bleepy, squelchy Frankfurt acid, Trental400/5 is eight minutes of soft, minimal crunchy noises and bloopy beats, Ratio sounds like proto psy-trance of around the time, and Osiac... hey, this is actually at a reasonable pace, with reasonable acid and reasonable techno toolism. Probably could have been rinsed out ten years later if Very Important Techno DJs had the single.

But yeah, because Head.Phon was too Frankfurt for techno purists, and too weird for trance fiends, it got lost in the shuffle, as did most of Jiri.Ceiver's work. A shame.

Friday, November 16, 2012

Spicelab - A Day On Our Planet

Harthouse America: 1995

I got this shortly after my Dark Hearts 1 experience, the familiar Harthouse logo and Lieb production credits assuring me this was a can’t miss album. Well no, it was actually the charming 90s CG cover art that drew me in, thereby allowing the above to do the rest when I flipped it over. Something seemed off though. Only four tracks? My relatively young experience with trance music couldn’t fathom it, most prior bought compilations and albums holding at least ten to twelve cuts. Okay, these were long songs, averaging between fifteen and twenty minutes each, but I’d never heard trance music of such length before. How could it be done?

Intros, that’s it. Extended ambient soundscapes building atmosphere before proper rhythms and melodies hit. And don’t execute just one single musical idea either, expand upon it, then change things up midway through, creating different parts and sections like a prog rock opus. Don’t forget those outros either. And should you feel inclined to take an odd tangent, by all means go for it! There, fifteen minutes easily taken care of.

I recall reading that Oliver Lieb considered his Spicelab alias an outlet for experiments, even when staying within the confines of whatever sound typified hard electronic music of the time. This coming out during the first wave of trance, there’s definitely an undercurrent of sci-fi delights and spacey melody, coming up strong in up-front hooks on Falling and We Have Spice. On the other half of the album, hard tech-edged and electro sounds dominate, anything resembling a hook often shunted to the side except at key points - vintage voice pads at the climax of A Day On Our Planet and orchestral stabs at the end of Planet Spice. Throughout it all, nothing feels superfluous, though sometimes Lieb does take his sweet time getting to the point.

Oh, and beats? Seeing as how the first two cuts are straight-forward enough, the rhythms tend to be functional, but ‘functional Lieb beats’ outclasses many, so that’s fine here. Things get wonky on the back-half, with an odd pattern in A Day On Our Planet that somehow remains 4/4, and tougher techno dominating Planet Spice. Of course, anyone familiar with his forays into blistering tech-trance under the L.S.G. or S.O.L. monikers won’t be that thrown off, but it’s definitely enough to make these tunes a challenge for the doe-eyed trancecracker discovering Spicelab.

A Day On Our Planet is worth your time and pennies if you’re looking for trance that dares to break with convention, as there’s been scant little like this released after. Why is that, exactly? Techno and house are still releasing twenty minute long tracks, even though they’re often nothing more than slowly evolving loops. Come on, trance producers, let’s see more attempts at tunes breaking the fifteen minute barrier. I know there’s a few of you out there with the production chops, the musical ingenuity, and the gargantuan ball sacks to make it happen.

Tuesday, November 13, 2012

Various - Dark Hearts 2: A Harthouse Compilation

Harthouse America: 1995

I knew this existed for as long as I knew Dark Hearts 1 existed, as they both appeared on the 'dark trance' list I recently reminisced about. Unlike the first volume though, this turned into quite the elusive little CD to find. It probably didn't have to be, as a search on Amazon likely would have located a cheap used copy if I waited long enough, with most old Harthouse America CDs plentiful there. Instead, I played the patient game, waiting for it to turn up in a shop I happened to be browsing through, perhaps as a silly attempt at CD-buying nostalgia as it was how I found the first one.

No, wait, that's not right. I was hesitant. When I finally looked up proper info regarding Dark Hearts 2 in the infant Discogs, something about it seemed off. The cover was colder, uninviting. The tracklist lacked many of the names that made the first one such a classic. For sure, it was intriguing, but a hunch told me it couldn't live up to the expectations set out by Dark Hearts 1, thus I allowed it to slip from my “Must Have” list, falling to the “If I Stumble Upon It” one instead.

Turns out my hunch was correct. Had I bought this in my trancecracker year, I’d have dismissed it outright. A lot older and a little wiser now, I find things interesting and enjoyable among these ten tracks, but nothing revolutionary or unique either. The inlay tries to make the case that Dark Hearts 2 is about exploring new ground in techno, discovering where the genre could go next in the year of 1995. Admirable in ambition, but the results aren’t terribly revolutionary, even for then.

Mostly, we get attempts at jazz-techno fusion. Alter Ego turn in a strong cut, though it’s not surprising they’d be ace at it given some of their early work wouldn’t sound out of place in an alien lounge. Neil Landstrumm, Braincell, and Hardfloor also have a go, Hardfloor’s Pepper Penalty the best of this lot because, well, acid (thick, slow breakbeats don’t hurt either). The other half of Dark Hearts 2 consists of more traditional techno, though each cut offering something experimental to spice things up. Aside from BCJ’s Boulderdash (an alias of CJ Bolland), I just ain’t feelin’ these - Thor Inc.’s Here Comes The Sun is particularly annoying, sounding muffled as though my ears need popping. All wasn’t lost though, as Frank de Wulf’s Drums In A Grip was a track I wanted for years but could never find. Yay for that.

Ultimately, what makes Dark Hearts 2 a lesser compilation than the first one is its lack of cohesion. Dark Hearts 1 showcased an excellent roster of producers and their spacey music, plus crafted an otherworldly narrative with partial blends between tracks. That’s not the case here, tracks starting and stopping without flow, and the tone grounded by jazz cabarets in warehouses down the streets of Detroit.

Sunday, November 11, 2012

Various - Dark Hearts 1: A Harthouse Compilation (2012 Update)

Harthouse America: 1995

(Click here to read my original TranceCritic review)

So this was going to happen eventually too. I've already written a review for Dark Hearts, and it's already on this blog. What now? Well, if you're interested in the musical content, follow the link above to brave my early crummy writing. For this post, I'm going one-hundred percent anecdotal on your asses, so feel free to skip if tales of CD purchases bore.

In 1997, I was in full-blown trancecracker mode, having finally cast off all lingering eurodance interest but dismissive of anything outside the realm of energetic, acid space music. Unfortunately, my regular resource for it, the label Hypnotic Records, was no longer satisfying my need; hard German trance was fine for a while, but quite tired in ninty-seven. Seeing as how the internets proved useful in recommending material for my other ongoing passion of ambient dub, I fired up the ol' Webcrawler in search of lists of trance music.

This probably seems impossible to fathom for trancecrackers following the '99/2000 era, but finding info on trance wasn't so easy at that time. There was nothing like Discogs, no online radio stations or MP3 sharing, and wide publicity for the genre was still in its infancy, Oakenfold's ridiculously popular Tranceport more than a year away. I'd seen a few other compilations around like the Psychotrance series from Moonshine and the old Studio !K7 X-Mix videos, but wanted to dig a bit deeper. What would reveal itself to me on those old websites?

Eventually, I stumbled upon a site that not only listed a good hundred releases, but had even sorted them by genre. At the time, I was only aware of three types of trance: regular trance (re: underground/German), psychedelic goa trance (they were interchangeable far as I was concerned), and club trance. What the devil were all these other sub-genres? Progressive trance? Dark trance? Man, too much to remember, much less afford to buy. Moving on.

A couple months later, while browsing through one of my favorite music shops in Vancouver, I noticed a CD that I remembered from the 'dark trance' list, Dark Hearts. And hey, I recognized a couple names from other compilations I’d bought: Sven Väth and Alter Ego. Sure, I’ll give it a shot.

And lo, I threw that disc on back home, heard the opening haunting intro to Metal Master’s Spectrum, and instantly knew I’d made a purchase that would get heavy rotation from me for many years to come.

Dark Hearts pretty much closed the door on one aspect of German trance for me, and opened a whole new one, introducing me to such artists as Oliver Lieb, Pete Namlook, and Ralf Hildenbeutel. Anytime I noticed the Harthouse logo, I’d snatch that CD up. To say it was influential in developing my taste in trance music would be a vast understatement, easily ranking top five of such compilations were I to ever make such a list. And yet, that’s not quite the end of this tale...

Thursday, December 24, 2009

Various - Dark Hearts Volume 1: A Harthouse Compilation (Original TC Review)














Harthouse (US): Cat. # HH1004-2
Year Released: 1995

Track List:
1. Metal Master - Spectrum (Double J Mix) (8:56)
2. The Ambush - Casablanca (7:18)
3. Barbarella - My Name Is Barbarella (1995 Be Zet Mix) (6:26)
4. Jiri.Ceiver - Short Waves (4:28)
5. Progressive Attack - Hypnoticharmony Parts I + II (9:22)
6. Spicelab - Quicksand (8:06)
7. Pulse - Cariño (Silencio) (7:08)
8. Alter Ego - Tanks Ahead (Black Dog Mix) (7:19)
9. Resistance D - Human (Laurent Garnier Mix) (9:01)
10. Pulsation - Pulsar (4:09)

(2010 Update:
Hm. I can't really think of anything that needs updating to this review. Oh, sure, the grammar's still a bit clunky and overly descriptive, but at least it's manageable in this case. I'm quite pleased that TranceCritic managed to sell a couple copies of these through Amazon. Let's me know that some folks out there trust my opinion on such matters, heh.)


Although this is a trance compilation, don't go into Dark Hearts expecting to hear sounds that have dominated the trance scene for the last five years. The songs on here are very subtle and slight in their compositions. What makes them so captivating, however, are the soundscapes created. Quite often it seems they were crafted on a far, flung planet by an advanced civilization, melding the synthetic and organic into gorgeous sonic textures. This compilation is a testament to Harthouse’s genre defining, and even breaking, style.

The classic track Spectrum by Metal Master (Sven Väth and A.C. Boutsen) is as good as any song to open up such an album. Given a remix here by Mike Edwards (more commonly known as Jesus Jones, hence “Double J”), this mix of Spectrum isn't too concerned about moving feet anytime soon as it gives itself plenty of time to build upon its elements from the start. The primary melody, a low somber piece played with either synthesized pan-flutes or pads at various points, starts the song up after a bit of opening with effects plays out. Stuttering, hollowed out synths, low acid warbles, juicy synth bass, and minimal electro breakbeats progressively add texture. Finally, some four minutes in, everything comes together for a gorgeous number, elements weaving and building upon each other until a rousing climax another four minutes later. This is emotionally stirring stuff, not easy to follow-up. Fortunately, if anyone is up for the task, it would be Oliver Lieb.

As The Ambush, Oliver Lieb has crafted some remarkable compositions and the offering here in Casablanca doesn't disappoint. With a simple bit of tom percussion accompanying it, this song starts out with benign synth chords lightly alternating between left and right, the lower tone on the former and the higher on the latter. After nearly two minutes of lead in with various sonic elements coming and going, the song comes into form as various heavy organic percussion chug along to a gorgeous synth pad playing a lovely melody. A minor breakdown and build using early elements takes over for a minute before giving way back to the main synth pad. Eventually, everything comes together for a climax, then gently retreats, leaving only a single, somber synth pad to play out.

Really, Casablanca isn't a typical trance song, as it's quite similarly paced with Spectrum and doesn't use any overtly synthetic sounding bits of percussion, much less a traditional 4/4 bass kick. Still, it is an amazingly rich song that shouldn't be overlooked for any reason.

The pace picks up a bit with another classic track: My Name Is Barbarella by Barbarella (Väth again, with Ralf Hildenbeutel this time), with a remix done by B-Zet. More benign than emotionally rousing like the previous two tracks, this song still has many great things going for it. The pads are minimal but always present in a synthetically lovely way and gentle, heavenly singing flutters in and out every so often. Simple little electronic riffs carry throughout, playing off of each other or the pads, especially in a breakdown mid-way through. Sonically delightful.

Jiri.Ceiver makes things not quite as emotional with Short Waves. This track is a little mechanically menacing compared to what's been featured here thus far, with plenty of effects sounding fit inside a factory and a bass line that growls along. As a song, it doesn't go anywhere far since Jiri.Ceiver seems more concerned about showing off quirky noises rather than using them to make riffs out of. However, in showcasing some interesting sounds and effects in a traditional techno style, Short Waves is good stuff.

Leaving the grind of factories behind, Progressive Attack (Ralf Hildenbeutel on his own) seems keen on taking us through space with Hypnoticharmony Parts I + II. Using different layers of spacey, trancey pads, this song takes its time in setting mood rather than groove. The pad work really is quite lovely, and a synthetic-sounding female sample weaving in and out adds to a Bladerunner-esque atmosphere. Eventually, a brisk beat is laid out, but for the most part, Hypnoticharmony relies on its use of pad work rather than the minimal electronic riffs utilized. Towards the end, the riffs are given a chance to take the foreground as the percussion picks up but the track has been so mellow up to this point that it doesn't really seem to make much difference. Still, this is yet another sonically rich song on Dark Hearts. I'm beginning to wonder if this consistency will ever be let down here.

If the thought were to occur, Oliver Lieb'll have something to say about it. This time under the alias of Spicelab, we are treated to a creepy, alien excursion into sci-fi ambience with the song Quicksand. To dismiss it as merely that, however, would be doing this song no favors, as there definitely is a groove to it, however minimal. Still, the main focus of Quicksand is for synth pads to weave and work their way around plenty of synthetic samples and effects, and it accomplishes this with remarkable skill and finesse. Of course, I'd expect nothing less from Oliver Lieb.

A trancey, hollow riff starts Cariño (Silencio) by Pulse off, and pretty much dominates this song without much variation throughout. Bits of percussion and little electronic lines slowly emerge from the background at points but they tend to be so subdued behind the main riff that you'd be hard pressed to really notice them. While this riff in itself isn't too bad, the fact that it is so constant throughout can lead Cariño into quite a repetitive state, even if you are concentrating on the few subliminal things this song has to offer. Even a bit of echo subtly added to it towards the end doesn't help much. A perfect enough transitional track, really.

If Cariño seemed too repetative for some, The Black Dog's mix of Tanks Ahead by Alter Ego should be right up your alley. Uniquely dynamic percussion, electronic effects and sounds, subliminal pads, and trancey riffs all combine to form quite the listening experience. Everything continuously weaves about throughout this song that it never becomes repetitive. The unfortunate thing though, is with so much going on, nothing really stands out in the front and center either, rendering this song as filler; albeit incredibly diverse filler, but filler nonetheless.

Returning to the more minimal sound featured earlier on the album is Human by Resistance D, with Laurent Garnier providing a remix. Moving along at a brisk pace, dark, synth pads weave in and out while a deep, subliminal electronic line carries the song along, varying slightly at times through pitch effects and so on. Little acid bleeps and pulses appear every so often as well but are used more as background effect than anything else. It sounds decent enough but without more variance, and percussion that keeps itself simple almost to a fault, Human may have difficulty remaining lodged in your head anytime soon, especially after hearing so many textured songs on this album.

Ending Dark Hearts is Pulsar by Pulsation, a little known alias of Pete Namlook. Strictly an ambient affair, Pulsar is the perfect track to end an album on. Deep, spacey, synth pads cruise about as alien effects and tinkling pianos flutter in and out of this song. Without any percussion to speak of, Pulsar is about as ambient as it gets. It doesn't vary much throughout but is nice to listen to as background music and let your mind drift away.

There isn't much funk or big moments on this album, but really that isn't the point of these tracks. Why enjoy a moment when your emotions and imagination can be taken to such wondrous places as these songs take you to? Your mind will drift with pads and electronic pulses as you marvel at such a delicate craft of manipulation of synthetic sounds. From the serene to the inscrutable (sometimes even from the same producers under different guises), this album has it all.

Score: 9/10

ACE TRACKS:
Metal Master - Spectrum (Double J Mix)
Progressive Attack - Hypnoticharmony Parts I + II

Written by Sykonee. Originally published 2004 for TranceCritic.com.© All rights reserved.

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