Marc De Pulse hatte mich für seine Reihe How I Met The Bass angefragt, in der es nicht darauf ankommt möglichst aktuelle Tracks zu mixen, sondern die eigene Geschichte der Elektronischen Musik zu erzählen. Auch wenn eine Stunde dafür natürlich sehr kurz ist, ich habe das dann sehr wörtlich genommen und Tracks aus ca. 33 Jahren zusammen gemixt, die für mich eine initiierende Wirkung in Sachen Bass hatten, wie ich auch im dazugehörigen Fragenkatalog antwortete:
Q) Talking about your mix: which stories are behind these tracks and what do they mean to you?
A) These tracks span the time from ca. 1981, when I discovered Electronic Music, until today, with the focus on BASS. Starting with SPK’s “Chamber Music from the album “Leichenschrei“, which was a milestone in Industrial Music then. I tried to circumnavigate the obvious hits to dig for stuff which is not so well known, but maybe even better. Every track was like an enlightenment for me, as it showed new ways to break out of a formula, may it be Industrial, Techno, Drum & Bass or Dubstep. That SPK album was my way out of Punk, Cabaret Voltaire’s “This is Entertainment” was Techno before it was invented, from 1980! That 808 State track was one of the tracks which showed me that Industrial became kind of stale and a new world is waiting there. “Exit 23“ and “The Snow (Answers come in Dreams)” are tracks by Industrial people who got into Techno and I always thought those two genres merge perfectly, if done right. Underground Resistance’s “Elimination” just fits perfectly into this sonic story, as if Techno comes back to Industrial. Randomer’s ”Bring“ is the newest track in the mix and continues the story told by Coil, UR and PWOG. The two LFO tracks are for the Bleepsphase, or english Bass in it’s early form, which then breached into UK Hardcore, Jungle, Drum & Bass, Garage, Dubstep, you name it. Thomas Krome’s track finally brought bass back into Techno, as it was leaping far behind compared to what Drum & Bass had to offer at that time.
Speaking of Drum & Bass, I always admire the production standards those guys have to offer, especially in the darker corners, as can be heard by the Nasty Habit classic “Shadowboxing“, I chose the Remix as it is even more polished. Opticals “Shining“ fits perfectly and I always played then side by side. 16 Bits Remix of Noisia’s “Machinegun“ then is the perfect bridge from Drum & Bass to Dubstep as I liked it. Skream’s “Midnight Request Line” is also Dubstep, but in another manner and a perfect, peaceful closing for a set or a mix like this one, bringing back harmony.
SPK – Chamber Music (1982 Side Effects Records )
Cabaret Voltaire -This Is Entertainment ( 1980 Rough Trade)
LFO – Mentok (1990 Warp Records)
LFO – Probe (1990 Warp Records)
Psychick Warriors Ov Gaia ?– Exit 23 (KK Records 1990)
Coil – The Snow (Answers Come In Dreams) (Wax Trax! Records 1991)
Underground Resistance – Elimination (UR 009 1991)
808 State – Sync/Swim (Creed Records 1988)
Randomer – Bring (Hemlock Rec. 2013)
Thomas Krome – Shockabuku Volume 2 (Corb 2001)
Noisia – Machine Gun (16Bit Remix) (Division 2010)
Nasty Habits – Shadow Boxing (The Remix) (31 Rec. 1997)
Optical – Shining (Metro Rec. 1997)
Skream – Midnight Request Line (Tempa 2005)