Review: This is the second release on Henning Baer's new label and sees the Grounded Theory resident continue to develop his distinctive brand of underground techno. The title track, with its hypnotic pulses and static ticks and whirrs, shows that Baer has learnt the art of restraint. On "AIIM", he continues in this vein and kicks as deep and hard as vintage MDR material, while "Canadian Suit" sees him lead the listener down a wormhole coated in corrosive metal. However, the most impressive aspect to this release is Baer's willingness to also explore experimental avenues, audible on his brooding "Operator" sound scape and the gnarly Kangding Ray take on "AIIM".
Review: The Grounded Theory resident continues his fruitful relationship with Adam X's label. At one end of the spectrum there's "Everyday Life", a stripped back minimal track that features spaced out vocals moving in and out of the arrangement. "Empire Down" is Baer's interpretation of acid, with a grinding bass and eerie soundscapes fused with insistent bleeps, while "Say Nothing To No One" marks the harder end of his sound as screeching riffs and broken rhythms are underpinned by punishing kicks. However, the standout track is "On Craft (SFT mix)", where Baer combines relentless claps and 909s for the kind of analogue workout you'd expect to hear on an old Djax-Up Beats record.
Review: The Grounded Theory resident's release on John Osborn's label may not be quite as schizophrenic as its title suggests, but it does underscore the fact that he has developed considerably as an artist. "Housing on a Sunken Ship" starts the release with waves of hissing interference, while at the other end "8kHz" sees him add some microscopic back-beats to a similar sound scape. In between, Baer teases out a dark, broken beat arrangement on the title track, while "Shopping In Jail" sees harder drums fused with atmospheric textures. Baer has clearly come a long way as a producer and Gemini is his most mature release yet.
Review: Grounded Theory chief Henning Baer is on the verge of big things, and here he makes his debut on Adam X's iconic Sonic Groove imprint with an EP that sees abrasive industrial tones rub up menacingly against solid funk in a curious matching of audio devices. "Folsom" celebrates its graininess, but the beat remains an addictive and accessible one in the vein of the Live Jam collective. "The Spies" is more dangerous in its demeanour, as the stop-start groove does battle with decaying bleeps and kettle drum bass hits. "You Rhyth Me" on the flip ups the ante even more with a positively gruesome slow techno throwdown designed purely to terrify. Highly recommended.
Review: It's high time that Berlin's Henning Baer launched his own imprint, and we're surprised that this is only happening now given the success of both his prior productions and of his Berlin club night, Grounded Theory. Manhigh kicks off with Henning Baer himself, gearing up the machines first with the bleeps and sporadic machine tones of "System Test (Nsdxit)", followed by the much more concrete and beat-laden shreds of drums on "Fighting The Dogs". The surprise comes from a rare appearance by Blawan as a remix of "Pan2945", with the Yorkshire native delivering some of his signature thrashing on the drums, and a fuzzy, drugged-out bassline that would have made Regis and Surgeon proud back in the days. The flip continues with more grey-scaled techno in the form of "Moving Ground", the excellent sack of squealing drones that is "The Last Quarter", and finished off tidily by the pouncing kick drums residing on "Copper Skin". Heavy duty gear.
Review: The third release on Belgian label Fuse features Grounded Theory resident Henning Baer. While the German DJ is still best known for his residency at the Berlin night Grounded Theory, he is also developing a strong reputation as a producer. The title track on this EP proves that point; revolving around an eerie, hypnotic bass and spaced out claps, it reveals a more esoteric side to Baer's music-making. On "Millions Behind", he veers towards a tougher approach, but even here, he tempers the jacking rhythm and crashing snares with atmospheric textures. "Protect" sees Baer back in full-on dance floor mode with a pared back drum track, while on "Coarse", he reverts to experimentation, led by a sinister bass.