Richie Hawtin

Search: "Consumed", "Marbles", "Helikopter", "Spastik", "Substance abuse"

(also search that plus 8 dbl cd best-of with speedy j's "patterns" remix - i know it's not hawtin but search it anyway.)

all the dj sets i've d/l-ed by him have been great, and the 1st 20mins or so of his set at the last lost were fantastic too (i only wish i could remember the rest!).

Actually, I don't think I've heard any non-Plastikman stuff he's released himself. Richie Hawtin stuff that isn't Plastikman, preferably of the noisy earbleed lunacy variety - search and destroy please.

Search: 'Spastik' aka Little Drummerboy on E. Esp. as mixed in a set by the man himself.
Also search the Cybersonik stuff, DE:9 Closer to the edit and of the Plastikman albums I tend to gravitate towards Consumed. Although the first track on Sheet One is wonderful (the rest of the album isn't bad either).

it's a nice image, picturing him futzing around with a two-cartridge tone arm, but who could prefer this above mike ink or maurizio?

decks fx and 909 is really good,i always forget how good it is actually until i listen to it,it kind of slows down at the end which is a bit odd but its one of the best examples of that type of one track gradually taking over from another with no fucking around mixing...
as for de9,i've listened to it a few times and never really got into it...
random mixes people have on tape vary from really good (the first half of live at sonar 2001) to fairly mediocre
the problem with the way he mixes is that,while i prefer it,you have to have fucking deadly tunes all the way through,cause if you're going to keep the mixing simple you have to put more effort into ensuring everything doesn't sound the same...

I really friggin dig Decks, FX & 909, personally.

and i'll second spastik.

"are friends elektrik

Uh...did he cover Tubeway Army?!

The guy's ripped my ears off THREE TIMES RUNNING live, can't say enough great things about his "act".

Amen. A veritable force of nature in a live setting. Nice guy too. "Decks FX..." is spectacular, but he really can't do any wrong in my eyes. I love everything he's ever released.

But I agree, his recorded output does sound sorta lazy now. I used to religiously buy everything he did, just because it was always some brand new mindfuck of a track like nothing else out there. Now, he's made the same record a few times. Still worth tracking, and his good stuff is better than great, but he is no longer a sure thing on record for me.

That said, see him DJ if you are a fan. You won't be sorry.

Anyone want to make me an offer on my vintage Plus 8 coffee mug? It got a matrix number and everything! Check the official catalog!

Richie Hawtin - DE9 : Transitions

....
DE9: Transitions combines everything from original Hawtin productions to unreleased tracks straight from the studios of cutting-edge producers like Ricardo Villalobos, Marc Houle, Daniel Bell, Alex Under et al and adds flashes of classic techno moments including Robert Hood, K. Alexi, Sahko, Pan Sonic etc, which inspired him when he was a young clubber. But most of the tracks are fundamentally transformed from their original states. Some fade in and out over a period of minutes, others are reduced to one single sampled note. The on-screen read-out on the DVD version of DE9: Transitions illustrates that its smoothly shape-shifting outline, this is a remarkably complex project. In fact the tracks are so close to becoming entirely new compositions that Hawtin has made the decision to give them his own names.

WHY THE HELL didn't I get it then?? I don't even want the DVD. GRR.

xpost x3

how dare you momus!!

Really? I was a bit sceptical about anonther Hawtin DE9, but now i'll have to check it out anyway. What's on the DVD, something special?

-- blunt (blunt120...), October 30th, 2005.

how much you want for it?

holy shit!

Closer To The Edit was cute, kinda fun, but the novelty wore off quick (compared to mixes like "Immer" & "Scion Arrange & Process..."). This is much better, and on first listen too, DE9:2 took me a while to really get into, and later I felt it wasn't hugely worth the effort, despite it being an 'interesting' concept.

I WANT a 5.1 system now.

More weird s*** like this yes!

Wonder how this'll go down with the psy-trance heads? Also, should I/what should I check out in that line now if I like this?

anyone?

I think I hear Ada in the third-to-last track, and a pinch of FUSE - F.U. in "The Tunnel" as well! That track/part is absolutely off it, like "Hypokondriak" but a come UP instead of a spiralling comedown.

I was more of an admirer of his art than a 'fan' before, but I'm quite shocked and amazed by this.

i cannot wait to hear transitions though. i am very much looking fwd to the 5.1 mix!!

The boy done good!

http://images-eu.amazon.com/images/P/B00001OH7W.02.MZZZZZZZ.jpg

Closer was his Low really. It all makes sense.

Do NOT blame Richie Hawtin, or his hair.

Also, the "German emo boy" look is far less of a techno cliche at this point than a shaved head and thick black-frame glasses. By far.

sven vath had a haircut once, perhaps he still has it. but frankfurt hardtrance didnt have that austerity. perhaps sven said, "richie, you know, its not 1996 anymore, you really should do something with your hair", and then they made an album together. they should do another one and call it "haircut techno"

i do think its indicative of the way the barriers between various dance genres have come down again, to some extent, all the same

I thought Ivan Smagghe's "heroin chic" look was also pretty great, but then I saw him on the documentary flip-side of the Time Out Paris mix, and he's kind of a dork (and quite possibly smacked out of his skull....)

Lame yet important discussion you know ? I know a whole genre of music that got discarded in record time not so long ago in America, with people throwing records into the Comiskey bonfire because they thought performers sounded and looked silly (and black, and gay).

Maybe Richie's sideways slab of molded blond kevlar is a step up from Moby's ubernerdy bald noggin but that's a very small step. It all still looks heavily contrived and locked in a ridiculous nineties interpretation of the future where everything is painted white and absence of ideas/objects is thought of as minimal and cool.

What happened to real-looking people in electronic music ? Or just poster-girls, like always ?

I'm just glad they've copied my hairstyle, I always wanted house to be long hair music.

I AM DISCUSSING TECHNO HAIRCUTS, ON A MESSAGE BOARD, quick, quick, how about that Luciano remix of Nathan Fake's 'Bobbins Land' at plus 6 it really goes well with bladibla....

I've actually always found it funny that any dance comp containing the words "Ibiza" or "Chillout" has some blonde bikini girl on the cover....

Villalobos's hair gets matted from 5-day sweaty party sessions, Smagghe just doesn't wash it.

I'm just glad they've copied my hairstyle, I always wanted house to be long hair music.

I'm ridiculously with you on this point.*

*Keeping in mind that this whole discussion is absurd, but then again I think part of the lack of audience for techno in America has much to do with a lack of glamour, and the tendency for techno to have bad poster boys (in America, that is) like Moby, who looks like a penis, or that fool from the Prodigy, who looks like he walked out of the Hot Topic at the local mall. If you gave Ricardo a few bullet hole scars, a fur jacket, and a Tech 9, he'd be HUGE in the US.....

What a ridiculous thing to say. Millions of dance producers and DJs look ordinary - that's why we don't talk about their hair!

HAHAHAHA can you imagine!!!

http://www.residentadvisor.net/feature_view.asp?ID=673

He might have a dodgy haircut but DE9 really hits the spot. I say this as someone who found a lot of his older stuff pretty cold.

* Back then = when many people apparently lost interest

http://www.plusorminus.org/board/viewtopic.php?t=199&highlight=hawtin+villalobos+essential

ableton + laptops + stack of hot records + efx + decks = a fussy, clipped version of a laurent garnier mix from 1993.

Indeed. The problem is? :)

This thing is deeper than deep space...not dry as i was expecting somehow. Almost a new kind of dub. Ah fuck it: a new kind of dub. :)

1. dub in the narrow sense: dubreggae (which Transistions obviously isn't)
2. dub in the broader sense: music that creates space, works with space, etc (and well, why not? Basic Channel for me is dub and house.)

it's pretty nifty to watch the dvd as it plays because the song titles appear on the screen as they come in and out of the mix. i am undecided about how much the 5.1 adds to it, but i am also not listening on anything too fancy.

now that i think about it, i don't know how fair my criticism of this being bloated in length is. it seems like he's trying to approximate a live dj set on this cd, but at the same time, and because of how the mix was constructed, doing it live is impossible. so it's imaginary and cerebral and therefore has all of the negative connotations of those words in the dj context. it is for home listening though so maybe that criticism doesn't hold. i'm thinking that this has a lot of the sound of his solo plastikman work within it, but i haven't heard his last two albums. it is also hard, clinical, urban, unforgiving...these are positive qualities IMO. it's a 2005 post-techno mix after all.

tortoise are on matador? weird.

nigh imperctible build.

i still need to hear the whole thing...

i was pleased to read in the liner notes that stefan betke mastered the non-5.1 version.

yeah, I immediatly noticed the difference. ;)

Oh never mind, I just started reading the House vs Techno thread.

Ha! I was thinking about that thread when I wrote techno and then erased it thinking "nah it's time to use house again to balance things".

I also thought the first 15 minutes or so were a bit "subtle" but it's incredible if you listen to it while riding a bike through the city (even better at night w/ light rain)...total man-machine Zen "I destroy the road" stuff.

You guys are just too hung up on those early singles. And a bit overeducated on techno, I might add. You'll run lengthy commentary on the subtle brilliance of some amateur bass-line dropped by Booka Shade just because it's on Get Physical, but then scoff at something as deep and rich and complex as this, just because it's Richie Hawtin, and well Richie Hawtin has grown just a bit too popular for our puritanical posturing, what with that new hairdo and all.....

LAME. Really, really LAME. Check this out: Chain Reaction is a one-trick pony, but no one's ever said a negative word about the label. Why? Because we accept it for what it is. Duh.

Bah!

(That all said, Vahid's comment of a strong start, mid-fizzle, and subsequent massive crank-up is OTM)

the point is, this is what he does, used to do, always will, ain't no new kind of dub or house going on there. No need to crap on CR or big up Booka Shade either.

It's just that way too much of this thread seems to not want to accept this new work because his posturing and appeal have become too trendy, which is a lame reason to dismiss a piece of music.

"I don't like this because indie rock kids who got into techno because of Warp and now Kompakt like this and I find that threatening because I WAS THERE."

Commenting but not bothering to actually read the thread = dud.

= every German DJ ever, basically! Except that the floor gets fuller and fuller

http://www.discogs.com/label/S%E4hk%F6

You start dancing. Then you start really dancing. then you think its really good fun. then some more great shit comes on and you cant believe you thought it was really good fun five minutes ago cos it's WAY better now. This process repeats itself. Then it ends suddenly and you shiver home.
-- Ronan (ronan.fitzgerald...), January 24th, 2002.

"Remikks Potpourri" vs "DE:9 Transitions"

Maximal K-house vs Minimal K-house?

http://img.photobucket.com/albums/v418/Chewshabadoo/hawtin.jpg

Richie would never use one

i don't think i would go so far to call transitions dull, but it's very __Work Of Art__. the last 20 minutes are great, like minimal euphoric trance. it wouldn't surprise me if the ending dictated the previous 70-80 minutes.

At first you're like "this is kind of dull", then you settle into it, perceiving more of the detail then it just gets better and better.

This CD is AWESOME.

And I'm not buying the whole "this CD never takes off" argument. By the same standards, please tell me where exactly Alcahofa "takes off" and I'll figure out a way to e-mail myself to you and personally suck your dick. See, that way they're be something we BOTH can't do.....

(No offense to Villalobos- I actually love that record)

"...that way there will be something...."

I'm so pissed at all this non-love for this CD, I can barely type.....

-- one eye white, one eye black (fe...), October 18th, 2005.

the way this mix presents itself really made me want to dig into the details and listen though. it's quite a change for the dj mix and as someone who mixes and obsesses over this shit i want to check out what he did closely. at the same time, it's pretty funny to discuss details when this thing is so wonderfully vacant. but that's the paradox i guess.

Don't worry about that. ;)

Trainride out of the city at night into darkness, then traces of light at the horizon, highways running next to the train into a bigger city with Transitions on yr headphones = godhead. You've got to take it places (although you miss the cool extra 20 minute part of the DVD mix.)

You're spot-on with your assessment of putting this CD on the road.

I find it frustrating that some of the more electronic music-minded ILMers pigeonhole discussions of new releases into the following order w/r/t value:

1) analytic
2) dancefloor
3) aesthetic

5 posts on the album's sound
50 posts on its relevance to history
100 posts on what category it falls under
150 posts on what it all means
200 posts of circular arguing on who's right about how relevant it is and which category it falls under and what it all means

Blah!

Larry Heard did this better with two toothpicks, a microphone and your mother.

I'm just getting really sick of all this disco/house slobbering. Yeah, Larry Heard is great. I agree. I get it. Larry Heard and Richie Hawtin are not the same thing, at all.

also, those with the actual disc don't forget the dvd includes a high-rate mp3 of the full long version. it's great--all one track, which circumvents those annoying micropauses ipods insist on placing between tracks on dj mixes.

i love it when it does too. in amongst the craziness there is some really pushing and talented shit going on. telepathic, dude.

RICHIE HAWTIN MUSIC SPECIALLY COMMISSIONED FOR 2006 WINTER OLYMPICS' OPENING CEREMONIES
Richie Hawtin creates music for the XXth Olympic Winter Games Opening Ceremonies in Torino, Italy

Olympic ceremony producers K2006 invited Richie Hawtin to collaborate with renowned Italian choreographer, Enzo Cosimi, on a key section of the XXth Olympics Winter Games Opening Ceremony taking place in Torino on February 10th. The new composition titled 9:20 was written & produced by Hawtin and will accompany Cosimi’s provocative choreography featuring famous Italian dancer Robert Bolle along with dozens of other dancers, performers and acrobats. Hawtin & Cosimi worked together in Hawtin’s Berlin studio to fully realize the drama and emotions of Cosimi's performers, building an evolving soundscape of sounds and effects to accompany the different movements of Cosimi’s piece.

Ceremony producers have assembled an energetic program planned for the Opening Ceremonies with a theme originating around the foundation elements of Rhythm, Passion and Speed. Internationally renown not only for his music and global DJ performances, but also for his interest in new creative technologies, Hawtin is in perfect harmony with both the concept and its global audience.

“Enzo and I are very much interested in pushing boundaries, both as artists and for our audiences. Working together for the Opening Ceremonies of the Winter Games delivers the creative endeavor to not only entertain a huge audience, but to also introduce them to sights and sounds that they may have never experienced before," says Hawtin from his studio in Berlin.

Are you suggesting de9 is a.......grower?

Surely thats just a rumour that's grown out of control with time? I've heard that Hawtin used to have Magda warp tracks for him to use in Ableton, but nothing more than that. Warping is a mechanical process that a trained monkey could do (indeed, new versions of Ableton do it automatically with moderate success). I think that people misinterpret this as meaning that Magda has a load of creative input in Hawtin's stuff, which isn't necessarily true at all.

If only. His sets might interest me a bit more then :-)

-- jng (jngpn...), February 15th, 2006.

well, having worked very closely with both of them for a couple of years, i can attest that Magda's involvement with preparing material for richie's sets, was, as JNG correctly stated, minimal (pardon the pun).

and is it the otherwise japan-only DE9 "bonus" mix by any chance?

xpost
oh ill get mixmag then

Also, I've only heard snippets of half of the tracks, but the new Min2Max is really strong so far. Much better than vol. 1

http://www.discogs.com/release/666716

US friends: if you go to borders or tower or whatever to look for mixmag and they have the issue with the SWITCH covermount CD buy that instead. ruff and jacking minimal boompty madness! with sick basslines!

you also get the bonus of a hilarious "what you need to know about MINIMAL" article AND a fawning james holden article.

I don't like Switch though much, but then don't like Hawtin a great deal either, it's a very housey track selection for him, I think.

Mixmag sure is funny though, LUCIANO and stuff plastered across the front. It can only speak well of the scene that minimal is being bigged up next to articles about the best way to take ecstacy anally or whatever.

I really don't! I just think, this sounds like ye olde British house music, you have to understand that's a big turn off when you live so close.

I have to admit I find Switch/Solid Groove's appeal a bit baffling myself.

i agree that the first half is a bit slow-ish (grr fuck you Hawtin and yr wanky buildups) but everything after Granade Granate is just fine! i assume you guys had fallen asleep by then.

An ad hominem argument, also known as argumentum ad hominem (Latin, literally "argument against the person") or attacking the messenger, involves replying to an argument or assertion by attacking the person presenting the argument or assertion rather than the argument itself

i'm not attacking ronan, i'm attacking the argument itself

you have to understand that's a big turn off when you live so close

is such a lame reason. that should be a GOOD reason. it's like saying, "i live in berlin, i hate minimal, it's all anybody likes around here"

xpost

-- jimnaseum (takeyourmedicinelikeacham...) (webmail), April 28th, 2006 10:57 AM

no jim i guess not. does that mean i am stupid? if so, is your pointing out my stupidity an attack on my argument or an attack on me? oh wait i don't get it again. please explain.

Ok to explain more clearly.

I don't want to start major beef, but Vahid come on, why would we "make up" these things, can't you accept that we're actually living in that culture. There is a culture of dependency on Britain as a source of info or light in dance that needs to die here, IMO. And it's probably not that dissimilar in Britain except well it's being dependent on the country you live in.

Also "german microhouse", what's that exactly? You mean the stuff made by Greeks, Chileans, Swiss, French, Israelis, Portugese, Belgians etc? It's not an exclusive club, but Britain can't seem to join it that easily.

Anyway there's no real agreement to be reached here but that's my general reasons for not liking Solid Groove and Switch beyond the fact that it's not really the sound I like either.

re: major beef = come on ronan, beef beyond belief! it'll be more fun than sitting around agreeing about basement jaxx or whatever.

re: "artlessness" AHA this is sort of exactly the sort of thing what i wanted to know ... that does make a little more sense.

so tell me, what are the solid groove flyers like? why exactly do you think they're promoting artlessness? give me details here, i'm willing to listen.

also isn't there something reassuring about artlessness? isn't that the appeal of quite a bit of non-electroclashy electrohouse and quite a bit of US house, too? and basement jaxx and gang, too?

I mean for FUCK SAKE, I hate that kind of shit so much, because usually just around the corner, inevitably is, "oh it's all just dance music, get over it, you know, like your mama used to make" and I really hate that self degradation thing you see in dance circles so often. I dunno, I always want everyone to raise everything up and say "this is art" but nobody ever does, in fact in dance over here it's like people have an aversion to art, which annoys me cos like, at its best isn't dance the ultimate pop art? I dunno, for me it is anyway.

I think the artlessness in non electroclashy electrohouse is different, in that it's not combined with harking back to something else as Switch/Solid Groove are, IMO. It just feels newer in every sense.

The same guys who do the above night would be like "oh make sure to wear your makeup and you'll get on fine especially if you like art college girls" or whatever about nights like ours. It doesn't personally offend me in the slightest but I think it's lame, it's a bit like a sort of Grandpafied view of the world!

The Jaxx are an interesting one, I think they are quite arty but the pop thing is what drags them up hugely in that respect, I am not sure I see a persona with Solid Groove or Switch that is like this, I dunno, electrohouse at the borderline of commerciality has its problems too (overly studenty, totally white, middle class, indie etc) but I guess that annoys me less.

Also perhaps I like mimimal stuff so much because it's difficult to pin these kind of prefabricated ideas onto it, cos I don't know many people who like it massively and really understand it. I think though it's still being consumed and generally understood, I know I can't really get a full handle on the aesthetic sometimes which is good maybe.

ha! i have heard so many berliners express this exact sentiment in the past.

x-post yeah that's it, anonymous freak music!

I am listening to a DJ set by Ralf Kollmann at the moment, and it makes me wish I lived in Berlin. This is the other thing, there are layers and layers to enjoying this stuff, I don't know a single track so far and it doesn't really sound like any commercially released CD or mix. And that's just one example.

x post

But now things are generally quite housey I really like that aspect, the total introversion of it all.

Although everytime I hear an actual dub record (I've a friend who is quite into dub) I feel like I need no effort to like it, the connection between all this Euro-house music and dub just seems beyond overstatement, I dunno, I guess dub is as much a production technique as a genre.

dub is a state of mind!

http://www.fabriclondon.com/label/release.php?item=fab28/wig

it totally is though, it's like the blueprint for so much amazing music.

Did you ever get Bent: Later Vahid? That mix was one I really dug I thought you would be into.

but, this is the best kind of music!

Actually when you think about it Ronan, Switch sound like the group someone would make after reading your FT review of that 7 Mix.

... But yeah, anyway, for some reason whenever I've heard any Switch stuff it's just not done much for me. Ewan Pearson loves their Coldcut remix but when I heard it just went past me, sorta.

ah, the good old introvert/extrovert schism...

The earlier M-nus-ish stuff is nice too I guess, but i had a vahid-like moment when I thought, "this would sound so much better with a big fat bassline underneath it", and suddenly had the strong urge to put on See You At The Party instead.

Vahid a while back you were asking something along the lines of "if we honestly admit that both US house and Euro house have this intricate spliced up production, what is the real point of distinction which makes the Euro stuff interesting?"

Listening to that Hawtin Mixmag mix made me ask this question again, but in a positive rather than negative way: the sudden upsurge in quality when everything goes melodic and sparkly at the end suggests to me that perhaps one of the things that people (like myself) respond to in a lot of the Euro stuff is that sense of collision b/w the compressed funk of Classic/Music For Freaks/Perlon and the dreamier/spacier/epic component that one tends to see in prog/trance/melodic detroit techno (whose grooves tend to be more smoothly flowing to better enable that mind/body detachment thing maybe.

Classic/Music For Freaks rarely goes for that same sense of "the epic", not because it's afraid to or because its unambitious, but because its too much in love with the intoxicating claustrophobia of the packed sexualised dancefloor; you're not supposed to forget that you're surrounded by dancers with whom you might do unspeakable things before the sun comes up.

The mix itself is so subtle and smooth - I don't think I've heard anything quite like it. It really comes off as a seamless whole rather than a DJ going from one track to the next.

I have a hard time getting into Closer To The Edit because it seemed like he couldn't stay with a single idea for very long and the transitions from one part to the next are really jarring. Transitions does a better job of turning his ADD into an asset by turning the mix into an ever changing kaleidoscope of sound.

It is true that this is more subdued. It might not work too well on the dancefloor, but I don't know if that was the intention. When the original Decks, EFX and 909 came out, I thought it lacked dancefloor oomph, but then I heard him play those exact same tracks in a club and he absolutely destroyed the place!

Basically what I'm getting at is Richie Hawtin rocks, haircut or not!

thx yes exactly

Recently discovered Hawtin's Concept 1 - 96 stuff -- yea i know it's over 10 years old now, but man, this is incredible. I don't think I've heard techno this minimal, stripped down this much...even more so then the Consumed album. Very good.

Can anyone recommend some techno for me that comes close to how minimal this stuff is?

richie hawtin's balls
http://s125.photobucket.com/albums/p46/mrwlong/?action=view¤t=CIMG1826.flv

umm yea that's some good techno

Hawtin's Concept 1 - 96

still my favorite Hawtin by a factor of thirty

try Moebius & Beerbohm's "Doppleschnitt" from 1982. 20 minute track.

1983 actually -- http://www.discogs.com/release/377591

thanks!

try mika vainio, esp. his releases as Ø and philus. my favourite is this: http://www.discogs.com/release/31523, endless tunnels of sine wave spirals over kick drums. very deep and minimal. loads of Ø stuff has been recently reissued on sahko records, it is all essential.

also the profan/kreisel 99 labels run by wolfgang voigt in the 90s. some of it gets quite acid-y at times but stuff like the m:i:5 and pentax and grungerman is essential.

thanks, yea i've checked out voigt's stuff as studio 1 (and gas of course), and it's excellent, haven't heard the m:1:5 or other stuff though

Terrence Dixon's 90s releases for Utensil Records, if you can find'em

If you like Concept, Thomas Brinkmann's Concept Variations is worth picking up also. As are his Variations of Studio 1. Those records have the most fucked swing to them I've ever heard.

Yeah, if you can track them down on the internets, the other early non-mika -vainio sahko records are awesome. I think the Sil Electronics and Hertsi ones might be the most stripped-down tracks ever.

Speaking of, a lot of 90s minimalism is so much more compelling to me than the mid-2000s stuff that m_nus is putting out now. Actually, I kind of hate the newer m_nus stuff. I think there was a conceptual rigor to the mid-90s version of this music that the more hedonistic form it took in the last couple of years obviously lacks, but also makes it much more aesthetically interesting. Also, that stuff is way better produced and the individual sounds have much more depth and nuance.

Concept 1 - 96 CD was just re-released with Thomas Brinkmann's Variations as the second disc. Remastered by Stefan Betke. I noticed this on M_nus website, and got an email from a local record shop. Cool! This is great stuff.

Also, I have to agree with this, even if I haven't heard all that much of what M_nus is doing now:

Speaking of, a lot of 90s minimalism is so much more compelling to me than the mid-2000s stuff that m_nus is putting out now. Actually, I kind of hate the newer m_nus stuff. I think there was a conceptual rigor to the mid-90s version of this music that the more hedonistic form it took in the last couple of years obviously lacks, but also makes it much more aesthetically interesting. Also, that stuff is way better produced and the individual sounds have much more depth and nuance.

here are some links for it:

http://www.residentadvisor.net/news.aspx?id=8861

http://www.boomkat.com/item.cfm?id=19997

Personally I feel kind of silly for not buying it over the last few years when it's been sitting dormant in a record shop here, but I think it's imprerative I get it now.

And as to the quote above: that is so very, very true.

I remember I just couldn't get into the Concept stuff (nor Plastikman's "Consumed") ten years ago, because it was way more minimal and cold than what I was listening back then. But I still have that 96 CD somewhere, should probably give it a listen, since my tastes have changed considerably.

Is the re-release of "Concept 96" actually worth buying for the bonus disc alone? Or does the remaster sound significantly different from the original CD? I like the sound fine as it is, can't see how even Stefan Betke could improve it.

I'm going to Berlin and was thinking of investing in some records... Has anyone heard Hawtin's collabs with Pete Namlook on Fax? I love both Hawtin and Namlook in general, but I'm not sure how well their individual styles might mix.

I have the original Concept CD and it sounds fine to my ears. Unless Stefan can miraculously dig up some hidden clarity.

The Hawtin/Namlook stuff is ok, nothing mind blowing. It's solid but not essential.

Is the re-release of "Concept 96" actually worth buying for the bonus disc alone?

the bonus disc is thomas brinkmann's Concept 1 96 VR album (his re-workings of the original hawtin material).

i can't say if betke's remastering improves the sound, since i've only heard mp3s of the original. i was never able to find an original release copy for an affordable price.

but the re-issue sounds great, whether or not it's an improvement over the original.

Anyone seen one of the new Plastikman shows? The short clips on YouTube look promising:

https://www.youtube.com/watch?v=rEpLBT2W2pY

It looks like Richie circa 2006 has been reincarnated as Robyn

http://www.factmag.com/2010/04/28/robyn-announces-first-london-show-for-two-years/

http://factmag-images.s3.amazonaws.com/wp-content/uploads/2010/04/robynnewmain3939939393.jpg

the plastikman video from time warp sounds boring to me. many people who went there seems to agree.

but that vid from coachella makes me think it was an awesome performance though!

Reviving the plastikman name, especially when it's accompanied by big showy spectacle, shouldn't hold any promise that his new stuff is going to be interesting. Whatever productions that have come from Richie in the last few years have sucked anyways, I see no reason why these can't either ;)

Man, just got DE9: Closer to the Edit and quite enjoying it.

Listening to minimal techno before it was "minimal", and listening to Richie before he became a huge fucking joke, one can only look back on the latter half of the 00's and sigh at how these things were made so shallow (and rather than simplistically and unthinkingly charge them as being inherently so, as most tend to do, of course).

http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash4/254022_10150224509213960_238996453959_7167704_4442488_n.jpg

where's that?

haha

Sonar

https://www.youtube.com/watch?v=ee-vjXl4W9s

Its pretty amazing how little people dance to his music.

mnml dancing.

Missing sonar :(

nice zoom in to the bangers in the gypsy top there lol

also feeling EDB's post up there

say what you like about richie but his radishes are fucking delicious...and you'll be hard pushed to find a zestier lemon.

http://frommymindtoyours.com

I'm going to Berlin and was thinking of investing in some records... Has anyone heard Hawtin's collabs with Pete Namlook on Fax? I love both Hawtin and Namlook in general, but I'm not sure how well their individual styles might mix.

― Tuomas, Monday, August 25, 2008 5:32 PM

I eventually ended up getting all three From Within albums, and they're pretty amazing, especially the first two! In fact I'd even say that they're better than any solo material by either Namlook or Hawtin that I've heard.

https://www.youtube.com/watch?v=Cgd7ZWCgtAo

(There's a funny bit in the liner notes for a FAX compilation where he mentions that some journalists praised the "basslines and drums by Richie Hawtin", but thought the "typical Namlook strings" were boring... When in fact Namlook had produced the beats and Hawtin the strings. Everyone just assumed it was the other way around, because Hawtin was the techno guy and Namlook the ambient guy.)

"He" = Pete Namlook.

the full Concept series has been released digitally!

https://richiehawtin.bandcamp.com/album/richie-hawtin-concept-1-96-12

also: there was music by Richie Hawtin/Plastikman at the Prada spring/summer 2021 women's wear show in September (only the first 13:30 minutes - the rest is an interview with designer Raf Simons)

https://www.youtube.com/watch?v=RCQxPSNzU2Q