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Das Kapital and other Big Beat Tunes 2005​-​2007

by o.lamm

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Ian
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Jim P
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David Holl
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mh
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PHPHPH
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dmikalova
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Toshiba-3
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anathemayoke
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1.
Just A Feeling 09:14
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2.
Force Ten Shitstorm 08:53
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3.
On Being Blue 07:29
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4.
Das Kapital 12:32
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5.
How We Walk (On The Moon) 10:41
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6.
The Sewers, the City, the Tower (glitched mix) 06:22
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7.
Super Tireslasher (feat. dDamage) 06:31
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8.
That Very Moment (Proto, live in Moscow, 2005) 09:56
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about

In the mid 2000's, I was still an active musician. I was playing a lot of gigs, solo and otherwise, and planning music releases. But the musical underground in France was nothing like the one in which I had made my debuts. Electronic experimental music - my realm and comfort zone - was still going strong, but a new musical trend, closer to that of clubs than art galleries, was sweeping everything. People called it "French Touch 2.0" then, and it was carried by acts which soon got bigger than any of my friends or myself had ever been - Justice, Para One, Mr Oizo, you know them all. Quickly, mainstream medias were championing this big wave of noise and dance which was putting France on the map again after a decade or so of "nothingness". I'd strived in that "nothingess", and I was thrown off balance, creatively.

Soon, gigs were happening late at night and it was mandatory to make people dance. I gladly tried to adapt, because I enjoyed a lot of the early music released by labels such as Institubes. It was noisy, it was fun, it was made by musicians who were obsessed by Autechre or the Aphex Twin, just like me. Also, techno music, disco, jungle etc. had always played a big part in my life, which, believe it or not, had been a big taboo in experimental music when I'd started composing music in the late 90's.

But it was a struggle. Because clubs weren't my scene. Because I loved super glitchy sounds and weird postmodern noises too much and I wouldn't get rid of them in my attempt at composing dance tracks. Because people could tell, I thought, that I was trying too hard. Still, I recorded and crafted a lot of music at that time. I released some, one long EP called Six Residua, a collaboration with Sutekh, and my third album, Monolith, is an attempt at finding some harmony between the musician I'd been up to then and the one I didn't really want to become. But I eventually threw a lot of the music of that time in the garbage and started towards different musical territories, collaborative for most of them (you might have heard of a synth music band called Egyptology).

Recently, I stumbled upon some master tracks of some of those songs, some of which I'd completely forgotten. I was more than pleasantly surprised. Because it sounds nothing like the music I remembered trying to make at the time. More like music which reminds me of the weird guy I was at that time. I was a bit crazy, to be honest. I have no idea why I tried to have people dance to this weird, noisy, crammed music. Which never seems to want to choose between house or techno. Even that Arthur Russell cover (How We Walk on the Moon) sounds like the most maximal minimal techno you've ever heard - an absurd oxymoron to say the least. Yet it sounded like Moroder in my head. But it doesn't. At all. If it sounds close to anything, it's maybe to those early Big Beat tracks which were released on Skint or Grand Central, or the rockier indie dance tracks of the Chemical Brothers, without the sexy hip-hop part. So here you go. You might have enjoyed my music in some remote past. So you might still enjoy it today. Sorry about the super loud mastering, it was all done at the time, and it was fashionable then.

Also, please not that the track call Super Tire Slashed was recorded for a collaborative 12" with my good friends from dDamage which didn't happen in the end. This album is dedicated to the memory of Fred Hanak.

credits

released December 1, 2020

license

all rights reserved

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