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| ctprincess |
hawtin is definitely an acquired taste - he can have some really bad sets, but when he's on - he's ON.
if you're not into minimal and/or techno - you're not going to like him - but i think part of the fun of the edm scene is to be exposed to new forms of music. a couple of years ago i went to my first hawtin show and thought the same thing - it was bleh. but, i think that i didn't/couldn't appreciate what he was doing and my musical tastes have changed where the less crap in the track the better. |
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| Porky |
| quote: | Originally posted by ctprincess
but when he's on - he's ON.
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like donkey kong?
i like Carl Cox... does he count as techno?
:) |
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| ctprincess |
| quote: | Originally posted by Porky
i like Carl Cox... does he count as techno?
:) |
yes - i would count cox as techno - but IMO he spins housey techno which is pretty accessible to most ppl - most of the techno tracks that he spins has a house element or two to them. just saw him at vision a few weeks ago and he was on his game. |
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| ctprincess |
http://www.trustthedj.com/REVIEWS/n...hp?news_id=4553
Richie Hawtin has been part of the minimal techno movement since...we were all clustering around, wondering if we were meant to turn the stereo up to hear his tracks better?
DE9 Transitions is the third in the DE9 series, which started back in 1999 with Decks, EFX & 909 and continued with DE9 Closer to the Edit in 2001. Where the former was a directional piece and the latter a more kinetic, chaotic work, here Hawtin has refined his skills on new technologies like Ableton Live and produced his most involving work to date.
Welcomm (In) sets the pace early, combining thumping bass with oceanic sounds, and more mechanical, beats. The drums have a kind of thickness, enhancing the sonic landscape with the kind of skill only a master shows.
Hawtin always takes his time with a crowd, but when he get gets going it’s always worth being there. It takes until Visioning (track seven) for the pace to really shift to anything danceable. This track has a low-down rhythm, with the recurring ‘waves crashing to shore’ noise mixed with more standard beat elements to get even the minimal fans moving along. We (All) Search is more thunderous, allowing some release, finally, but only a little – this album is more an exercise in musical control than anything else on the market.
Jupiter Lander is the odder side of Hawtin. It’s reminiscent of Wooo on Vitalic’s album, a quirky little bleep track that segues into Reduction, another odd little acid number.
But that’s not to say it’s all about the minimal stuff. Where Is Mayday takes thing up a notch (or six) with a thunderous deep techno hit full of bass drums and pace, with the de rigueur acid squelches, of course. A message to Derrick May? Well, it’s good enough to be, and it’s certainly not minimal – think Ivan Smagghe but deeper.
Minimal master? Certainly. But Hawtin’s at his best when he’s shaping an evening’s entertainment, with sonic peaks and troughs the likes of which only the best DJs can provide. Intelligent techno is still alive, it seems. |
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| UWM |
| First Lawler's babies, then Armin's, and now it appears Richie's ;) |
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tranceaddict Forums Archive > Local Scene Info / Discussion > USA > USA - Chicago, Detroit & N. Central USA
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