Lakker’s Ian McDonnell has announced details of a solo release as EOMAC for Berlin techno funsters Killekill. Read the rest of this entry »
As well as their highly regarded work as Dadub, Giovanni Conti and Daniele Antezza can be considered Stroboscopic Artefacts’ secret weapon, responsible for mastering each release from the label. James Manning spoke to the duo about the processes behind You Are Eternity, their long awaited debut album.
Stroboscopic Artefacts duo Dadub will precede their forthcoming debut album with a remix EP featuring an all-star cast of techno characters, including Rrose and Lucy.
In its original form, Killekill was a party that embraced all sorts of electronic music, and the label has opted for the same approach. It doesn’t seem to bother the former Shitkatapult employee Nico Deuster who runs Killekill that the imprint’s first steps have displayed an almost schizophrenic disregard for the kind of micro-genres that defines electronic music.
Stroboscopic Artefacts have just announced details of the second in their Stellate series of compilations.
For an act that had only a few releases to its credit so far, Dadub sound strangely familiar. That’s because the Italian duo behind the project, Daniele Antezza and Giovanni Conti, have been responsible for the mastering, production and engineering on the Stroboscopic Artefacts label. So even if their names don’t have household status in techno, their work does, and they have played a huge role in contributing to the label’s mixture of dub, broken beat and bassy techno. It is also worth noting that they have worked on the Dadub project for four years, and rather than rushing out music so as to gain recognition, they have taken their time to develop the project’s output to a fully-formed level.
The Monad series has aimed and largely succeeded in getting techno producers to explore their more esoteric side – and the eighth in the series from Stroboscopic Artefacts is no exception. Indeed, any electronic music release that draws influence from a Nobel Prize-winning scientist – Ilya Prigogine, after whom “Ilya” is named – is unlikely to offer up run of the mill DJ fodder. The aforementioned “Ilya” sees Dadub set a tone that is both menacing and captivating as the solemnly intoned phrase “evolutionary feedback” prefaces a descent into walls of electronic noise and the dead paced thump of a ponderous bass drum.
A similar mood prevails on “Hadean”, a track notable for the vast swathes of feedback that vie for the listener’s attention, as Dadub’s robust, dense broken beats sound like footsteps treading on crunchy, autumnal leaves. That doesn’t mean that VIII is entirely couched in furrowed-brow seriousness or that Dadub has somehow misread the brief. Like the preceding instalments, this release works precisely because there are a plurality of approaches.
The swirling, hazy ambience of “Biopoiesis” is an entirely different proposition, its creaky, spooky tones conjuring up memories of Tangerine Dream and Eno, while on “Amnion”, Dadub finally lurches towards the dance floor. However, true to the series’ form, straight techno beats only kick in after the producer has taken his audience through a forest of magical, swirling sound effects.