Errorsmith
2
Boomkat Product Review:
Erik Wiegand first came to everyone's attention with the release of two legendary 12"s under the alias 'MMM' with his pal Fiedel- future disco electroid monsters, fast becoming club anthems in Berlin and regular fixtures in Gescom DJ sets for years on end.
Followed up with the debut Errorsmith 12" a couple of years later, Erik's development of music software (most famously RAZOR for NI) funelled his sound into a more blitzed stretch of loops and cut-ups that have been heavily mined ever since.
And so onto this mad album, a brilliantly original display of skill, made with a bare minimum of gear, looped, spliced and re-edited into a body of work that at times unleahes adrenalised dancehall edits, while at others de/constructs pieces best used as soundtools for playing in or out. Two decades on, you'll be surprised how much this shit still resonates thru the newest forms of club music.
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Boomkat Product Review:
Erik Wiegand first came to everyone's attention with the release of two legendary 12"s under the alias 'MMM' with his pal Fiedel- future disco electroid monsters, fast becoming club anthems in Berlin and regular fixtures in Gescom DJ sets for years on end.
Followed up with the debut Errorsmith 12" a couple of years later, Erik's development of music software (most famously RAZOR for NI) funelled his sound into a more blitzed stretch of loops and cut-ups that have been heavily mined ever since.
And so onto this mad album, a brilliantly original display of skill, made with a bare minimum of gear, looped, spliced and re-edited into a body of work that at times unleahes adrenalised dancehall edits, while at others de/constructs pieces best used as soundtools for playing in or out. Two decades on, you'll be surprised how much this shit still resonates thru the newest forms of club music.
Boomkat Product Review:
Erik Wiegand first came to everyone's attention with the release of two legendary 12"s under the alias 'MMM' with his pal Fiedel- future disco electroid monsters, fast becoming club anthems in Berlin and regular fixtures in Gescom DJ sets for years on end.
Followed up with the debut Errorsmith 12" a couple of years later, Erik's development of music software (most famously RAZOR for NI) funelled his sound into a more blitzed stretch of loops and cut-ups that have been heavily mined ever since.
And so onto this mad album, a brilliantly original display of skill, made with a bare minimum of gear, looped, spliced and re-edited into a body of work that at times unleahes adrenalised dancehall edits, while at others de/constructs pieces best used as soundtools for playing in or out. Two decades on, you'll be surprised how much this shit still resonates thru the newest forms of club music.
Boomkat Product Review:
Erik Wiegand first came to everyone's attention with the release of two legendary 12"s under the alias 'MMM' with his pal Fiedel- future disco electroid monsters, fast becoming club anthems in Berlin and regular fixtures in Gescom DJ sets for years on end.
Followed up with the debut Errorsmith 12" a couple of years later, Erik's development of music software (most famously RAZOR for NI) funelled his sound into a more blitzed stretch of loops and cut-ups that have been heavily mined ever since.
And so onto this mad album, a brilliantly original display of skill, made with a bare minimum of gear, looped, spliced and re-edited into a body of work that at times unleahes adrenalised dancehall edits, while at others de/constructs pieces best used as soundtools for playing in or out. Two decades on, you'll be surprised how much this shit still resonates thru the newest forms of club music.
Back in stock / Classic Errorsmith
Out of Stock
Boomkat Product Review:
Erik Wiegand first came to everyone's attention with the release of two legendary 12"s under the alias 'MMM' with his pal Fiedel- future disco electroid monsters, fast becoming club anthems in Berlin and regular fixtures in Gescom DJ sets for years on end.
Followed up with the debut Errorsmith 12" a couple of years later, Erik's development of music software (most famously RAZOR for NI) funelled his sound into a more blitzed stretch of loops and cut-ups that have been heavily mined ever since.
And so onto this mad album, a brilliantly original display of skill, made with a bare minimum of gear, looped, spliced and re-edited into a body of work that at times unleahes adrenalised dancehall edits, while at others de/constructs pieces best used as soundtools for playing in or out. Two decades on, you'll be surprised how much this shit still resonates thru the newest forms of club music.
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