Showing posts with label Luke Slater. Show all posts
Showing posts with label Luke Slater. Show all posts

Wednesday, May 22, 2019

Luke Slater - Freek Funk

NovaMute: 1997

(a Patreon Request from Omskbird)

I feel compelled to go into a lengthy diatribe over how difficult it was to get this album. I mean, why this one? It's chump-cheap on the Discogs market, and Amazon isn't far behind. Somehow though, Luke Slater's Freek Funk was vexed, a Patreon Request from as far back as February, only now getting done due to shipping shenanigans. I wax enough over my music buying/hunting/savaging practices though, and who needs to read about disappearing shipments and borders confiscations.

So I've talked up Luke Slater plenty now, though almost exclusively his side-projects and side-projects that are more popular than his main-name albums. Still, Planetary Assault Systems remains his most fruitful alias, so it's no surprise he returned to it after a few shots at making a name for himself under his own name. The move from pummelling techno tools into more club-friendly territory was met with about as much resistance as you'd expect from the underground faithful, and the cross-over appeal simply wasn't having it in the year 2002. Back to the welcoming hands of faceless Berlin bosh, then, and everything was good again.

Before we got to that point, however, we have his first stab at a cross-over record; or a record that did away with the silly anonymous techno producer thing. Because if David Holmes and Laurent Garnier could make respectable techno records with their real names, then by g'ar so could Luke Slater. And I'm just being goofy in calling Freek Funk a cross-over album. Yeah, Luke Slater's no longer a faceless techno producer, and this stuff is certainly more accessible to the material he was releasing on Peacefrog Records or as The 7th Plain earlier in his career. Plus, in the year 1997, one couldn't help but fall sway to the trends of the time in his native Britain. So here's a big beat track in Bless Bless, and some trip-hop offerings in Zebediah and Walking The Line. Just, y'know, done in a techno-y sort of way.

And for you purists out there, Freek Funk provides plenty of the pounding bosh, Engine One, Filter 2 and Time Dancer doing the dutiful dancefloor demolishin'. Elsewhere Mr. Slater gets his futuristic Detroit-bleep on (Purely, Origin, titular cut), and even has a stab at the ol' electro with Are You There? Then there's Love, a track that sounds like nothing else on this album, but damn if it doesn't predict The Field's ultra-loopy melodic pseudo-trance vibes nearly a decade early. You'll definitely want to feel a good gurn on this one.

Lots of techno variety then, though that unfortunately impedes the album some, almost too much going on for it to stick in your mind. It's the same problem Garnier's 30 had, and though Luke does try bridging the more jarring stylistic transitions of Freek Funk with interstitial Scores, it still isn't enough for things to come together as a seamless whole. It's a messy album, but certainly worth a listen for the gems throughout.

Saturday, February 16, 2019

Planetary Assault Systems - Arc Angel

Ostgut Ton: 2016

It's not that I became so enamoured with The Messenger that I just had to get Arc Angel right after. Like, surely if that album wooed me so, I'd have dug into the past of Planetary Assault Systems albums - say the more highly regarded Temporary Suspension, or even all the way back to The Drone Sector. Nay, I simply felt if I was gonna' pop my head ears-first into Luke Slater's recent music, I may as well double up my purchases, and Arc Angel was right there to greet me (also: L.B. Dub Corp ...hey, a new album from that project too? Oh, no Bandcamp option. Pity).

Still, I feared a double-LP of minimal techno would end up overkill, too much monotonous rhythms and non-existent melodies to endure. For sure I had some faith that it wouldn't be a bunch of plinky-plonk wank – 2016 is well removed from that era of dreadfully tedious 'minimal' – but even seventy-three minutes of utilitarian Berghain tools is just too much for a home-listening experience. In a dank, sweaty warehouse with lights low, booze cheap, and pills pure, yeah, let's have eight hours of the stuff!

And yet, I somehow found myself enthralled by Arc Angel for its duration. Don't get me wrong, it is a fairly one-note album, each track essentially doing the same thing throughout. Relentless, cavernous techno rhythms, deep sub-bass frequencies that you don't so much hear but feel (proper sound-system a must), and loopy, bleepy sounds serving as the hook for the worms in your ear. Slater made mention that he wanted this album to have more of a melodic focus, which seems odd for a collection of minimal techno, almost a betrayal of its ethos. Plus, these aren't exactly jingles you can hum in the shower, melody more of an abstract idea than anything conventional.

Melodic is what Arc Angel is though, after its own fashion. While I'm certain creative DJs have used some of these tracks in their sets, I don't get a sense these were strictly intended as clubbing tools. If Slater wanted to make those, he'd release them as EPs, and the smattering of records coming out in the same time frame as Arc Angel had nothing featured from here.

Ultimately, I feel Luke's goal was achieved, for no other reason than this is a solid home-listening collection of minimal techno. Absolutely it helps the 2CD outing has various ambient-drone Interlude doodles to break up any monotony, but even beyond that, I find myself lost in a hypnotic headspace more than feeling an urge to move my body (much less hit the skip button). I'd still prefer a couple explorations outside this particular strict genre exercise, but if I want to hear that from Slater, there's plenty of aliases and projects of his that do the trick. Like that new L.B. Dub Corp album, Side Effects. Surely that's on Spotify, yeah? Yeah! Mmm, dubby tech-house with none of that German haus business.

Thursday, September 13, 2018

Planetary Assault Systems - The Messenger

Ostgut Ton: 2011

I recall a fair bit of joy when Luke Slater announced he was dusting off his Planetary Assault Systems project a decade ago. We were in peak 'minimal', see, and fans of that ol' school, 4am bangin' techno were left wanting. Their former heroes were chasing 'class' and 'sophistication' (and big bank) in fancy Ibizan clubs and European lofts rather than tearing that shit out in grimy warehouses and dank basement clubs, the former glory of techno's renegade roots all but a historical footnote. Why, even psy trance had more underground cred in the late '00s, despite crossover stars like Infected Mushroom in their camps! Of course, things would eventually work their way back to the Dungeons of Detroit Doof, but it needed someone with some clout to start the mass migration back to the holy land. Or an abandoned power station in Berlin, that'll do.

Ostgut Ton and their various DJs and producers (Shed, Dettmann, Klock) got the ball rolling, but when Luke Slater joined their roster with a returning Planetary Assault Systems album (Temporary Suspension), it gave the young label that all-important veteran cred purists demand. Already responsible for some of techno's toughest classic records of the '90s, Slater had seemingly mothballed the project in favour of seeking his own limelight. That didn't turn out as he planned though, so what better way to reassess one's career than to go back to the scene that nurtured your rise in the first place? Lucky for him there was a fledgling label and club that had an ear for that type of techno already going.

I did check out Temporary Suspension, initially coming away thinking there wasn't that much different in there than was going on with 'minimal' techno abroad. I have no idea what daft nonsense was going through my head at that point though, 'cause taking another listen recently, that would totally have been the type of techno I'd be down for in ye' olde year of 2009.

Fast forward a couple years, and the cavernous Berghain sound has overtaken all forms of techno as the One True Techno all others must follow (suck it, m_nus!). Yeah, it's still technically 'minimal', but not so dry and sterile as before – at worst, you could say it's just functional 4am weapons. And that's what The Messenger comes off as to me, another collection of utility tools for the 2011 crowds. Save a couple chill explorations (opener Railer, Movement 12), these tracks are all business, establishing mood and atmosphere straight away, and riding their established rhythms over spaced-out blips 'n bell tones, dubby effects, and percolating drum kits. The first half is the headier portion of the album, while the back-end unleashes a few feral beasts for the sweatiest moments of a night out. Like a lot of this brand of techno though, it all makes better sense while in the throes of massive sound-system reverberating off concrete walls rather than a typical apartment setting. High-end headphones help in a pinch.

Friday, February 9, 2018

L.B. Dub Corp - Unknown Origin

Ostgut Ton: 2013

L.B. Dub Corp is Luke Slater, whom I've mentioned in the past as being a Very Important Person in the world of techno, primarily for his work as Planetary Assault Systems. Following the turn of the century, however, he put that project on hiatus, focusing his attention elsewhere (DJing, label managing, misplaced stabs at crossover material). During this period, he released a couple EPs cashing in on that trendy dub techno action of the mid-'00s, this here alias its outlet. They didn't garner much attention, and L.B. Dub Corp would likely have been left a footnote within Mr. Slater's discography.

At the start of this decade though, Luke signed a deal with techno tastemaker Ostgut Ton, reviving P.A.S. in the process. Folks got super-hype in his output after that, giving him enough clout with the Berghain print to release more material from his side project too, the result of which being this here debut L.B. Dub Corp album Unknown Origin. And a good thing too, because we can always use more music in the Bandulu stylee these days.

Wait, isn't L.B. Dub Corp a dub techno thing, as is in the Basic Channel stylee? At first, yes, when doing Basic Channel clones was all cool an' hip, but there's plenty of those, and Slater wasn't adding much to the discourse making it. Nah, 'tis a far better thing to do, exploring the tribal side of dub techno when so few ever do anymore.

And Luke doesn't waste time letting you know where this album's heading. Opener Take A Ride gets in on a shuffly, broken dub rhythm with husky whispers uttered from famed rasta poet Benjamin Zephaniah. Nearly Africa and Ever And Forever lay out a bobbin', minimalist grooves, echoing chants, dubby pianos, and spaced-out synth leads. Elsewhere, L.B.'s Dub offers up some vintage heavy Bandulu rhythms, while No Trouble In Paradise inches things back to the lands of Detroit without ever losing that tribal dub fell. To close out with I Have A Dream, an opulent tribal-dub sermon with Zephaniah preaching celebrating multiculturalism, I can't think of a better vibe to end a record on. Shame Mr. Slater doesn't, then.

Four more tracks take us out of Unknown Origin, but they don't have much in common with the Afro-tekno that cames before. Turner's House and Generation To Generation stick to classic Detroit vibes, while Any Time Will Be OK reminds us that L.B. Dub Corp was a serious dub techno project at one point. Roller with Function sounds like a something initially intended for the P.A.S. albums, but contains enough of a dubby, tribal thrum to warrant inclusion here. None of these are deal breakers for this record, just less interesting paths taken compared to the unconventional roads the first half of explored. Considering we haven't seen any new L.B. Dub Corp material in the half-decade since Unknown Origin's release, maybe this was all Luke needed to make to satisfy that Afro-dub techno itch he had niggling at his muse.

Friday, May 16, 2014

Various - fabric 32: Luke Slater

Fabric: 2007

*cover art brought to you by fabric’s “Tacky Fifties Family Fotos” period*

Luke Slater is Planetary Assault Systems, L.B. Dub Corp, Clementine, and Translucent, all very important aliases in the world of techno. I guess Slater under his own name’s important too, what with four LPs, over a dozen singles, and oodles of remixes too. P.A.S.’ the one most techno disciples enjoy namedropping though, and for good reason, the project always two steps ahead of what that scene is accomplishing. But that’s the underground, where he could take more risks. As plain, simple Luke Slater, his productions were broader, dabbling in other genres like downtempo, breaks, house, and even *gasp*, electro-crossover on Alright On Top. It’s curious he never made another “Luke Slater” album after that one.

Really, his whole career went into a relative limbo during the mid-‘00s, likely due to focusing his efforts on running his newly established Mote-Evolver imprint. During that time though, Slater put out a mix for Fabric, only the third mix CD he’s ever released (the two-part Fear And Loathing ran a couple years prior). Maybe it’s for the best, as judging by fabric 32, I suspect studio DJing really isn’t Mr. P.A.S.’ strong suit.

If I can take anything from fabric 32, it’s that ol’ L.B. has an eclectic ear for techno. Not that his own discography wasn’t proof enough, but this mix is all over the place, showing off plenty branches of the genre. There’s dub techno, minimal techno, electro techno (?), prog-techno (!?), disco punk techno (!!?), techno-techno (stop making shit up), and breaks too. Really, this has all the hallmarks of a mixtape, Luke Skyslater showing off his musical interests without much care for technical mixing. Fine and well if the set flows all the same, but fabric 32 doesn’t.

His transitions are often so abrupt, half the time I’m double-taking, thinking I’ve got my player on Random by accident. Some DJs can pull such freewheeling set programming into a thrilling, unexpected ride. This one’s just confusing, Slater unable to settle into any sound for long before throwing an odd tangent. You’d think a set that starts with his own dub techno cut Rhythm Division (as L.B. Dub Corp), and features Basic Channel’s Phylyps Trak II/II near the end (geez, again?) would flow smoothly. Instead, your links are Guy J & Sahar Z’ Hazui (Gui Boratto Remix), Switch’s A Bit Patchy, Spank Rock’s Bump (Switch Remix), Audion’s Mouth To Mouth, The Juan MacLean’s Love Is In The Air (Mock And Toof Remix), and Marin Buttrich’s Full Clip - and yes, in that order. True, there are other tracks among them, but that list gives a decent impression of how Slater’s set unfolds. If you’re familiar with those names anyway (folks reading this blog should be).

Was This Worth The Pennies Paid For It?
If it’s an honest representation of Luke Slater’s DJing, I guess so. Though a disappointment, it beats paying cover charge at a club to sate the curiosity.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. 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