3MB
3MB
Boomkat Product Review:
An unmissable piece of techno history, combining the talents of Basic Channel's Moritz von Oswald, early Tresor resident and Orb mainstay Thomas Fehlmann and Detroit pioneer Juan Atkins. Stargazing techno futurism that's rarely been bettered in the three decades that followed, it cemented an important early bond between Detroit and Berlin.
In the early 1990s, von Oswald and Fehlmann began working together, constructing remixes as 2MB (or 2 Men in Berlin) and then bringing Detroit pioneers Eddie Fowlkes and Juan Atkins into the fold under the 3MB moniker. '3MB feat. Magic Juan Atkins' was released in 1992, and captures Techno as it was evolving from the early no-holds-barred electro-sci experimentation of The Belleville Three (Juan Atkins, Kevin Saunderson and Derrick May) to include innovation from across Europe.
Few European contributors covered as much ground as Moritz von Oswald, who paved the way for Berlin's minimalist sound with his early productions alongside Mark Ernestus. With this short, sharp collection of tracks however, Atkins, von Oswald and Fehlmann made a direct link between the sounds developing in the USA and those booming from clubs in Berlin.
Opening with a synth-heavy Atkins edit of 'Bassmental', the album starts as it means to go on with Atkins absorbing the tweaky austerity of the German set and filling it out with flashes of energetic Detroit euphoria. 'Die Kosmischen Kuriere' is another high point, building a lithe 4/4 throb over a classic Model 500-style synth bassline and post-Göttsching chords. The most memorable moment however is 'Jazz is the Teacher', that gets both a von Oswald and Fehlmann version as well as a rework from Atkins. This track is one of the era's finest moments, and Atkins' version with its neck-snapping bassline and acidic ascent of heavily-phased percussion still sounds undeniably fresh; the Berlin remix instead digs further into the jazz canon, expanding the rhythm with swung rides and adding vibraphone action that von Oswald would continue to explore on his more recent trio releases.
Next level material that's an early indicator of the breadth of exploration techno would offer. It's dancefloor material that never stops reaching for the stars.
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Boomkat Product Review:
An unmissable piece of techno history, combining the talents of Basic Channel's Moritz von Oswald, early Tresor resident and Orb mainstay Thomas Fehlmann and Detroit pioneer Juan Atkins. Stargazing techno futurism that's rarely been bettered in the three decades that followed, it cemented an important early bond between Detroit and Berlin.
In the early 1990s, von Oswald and Fehlmann began working together, constructing remixes as 2MB (or 2 Men in Berlin) and then bringing Detroit pioneers Eddie Fowlkes and Juan Atkins into the fold under the 3MB moniker. '3MB feat. Magic Juan Atkins' was released in 1992, and captures Techno as it was evolving from the early no-holds-barred electro-sci experimentation of The Belleville Three (Juan Atkins, Kevin Saunderson and Derrick May) to include innovation from across Europe.
Few European contributors covered as much ground as Moritz von Oswald, who paved the way for Berlin's minimalist sound with his early productions alongside Mark Ernestus. With this short, sharp collection of tracks however, Atkins, von Oswald and Fehlmann made a direct link between the sounds developing in the USA and those booming from clubs in Berlin.
Opening with a synth-heavy Atkins edit of 'Bassmental', the album starts as it means to go on with Atkins absorbing the tweaky austerity of the German set and filling it out with flashes of energetic Detroit euphoria. 'Die Kosmischen Kuriere' is another high point, building a lithe 4/4 throb over a classic Model 500-style synth bassline and post-Göttsching chords. The most memorable moment however is 'Jazz is the Teacher', that gets both a von Oswald and Fehlmann version as well as a rework from Atkins. This track is one of the era's finest moments, and Atkins' version with its neck-snapping bassline and acidic ascent of heavily-phased percussion still sounds undeniably fresh; the Berlin remix instead digs further into the jazz canon, expanding the rhythm with swung rides and adding vibraphone action that von Oswald would continue to explore on his more recent trio releases.
Next level material that's an early indicator of the breadth of exploration techno would offer. It's dancefloor material that never stops reaching for the stars.
Boomkat Product Review:
An unmissable piece of techno history, combining the talents of Basic Channel's Moritz von Oswald, early Tresor resident and Orb mainstay Thomas Fehlmann and Detroit pioneer Juan Atkins. Stargazing techno futurism that's rarely been bettered in the three decades that followed, it cemented an important early bond between Detroit and Berlin.
In the early 1990s, von Oswald and Fehlmann began working together, constructing remixes as 2MB (or 2 Men in Berlin) and then bringing Detroit pioneers Eddie Fowlkes and Juan Atkins into the fold under the 3MB moniker. '3MB feat. Magic Juan Atkins' was released in 1992, and captures Techno as it was evolving from the early no-holds-barred electro-sci experimentation of The Belleville Three (Juan Atkins, Kevin Saunderson and Derrick May) to include innovation from across Europe.
Few European contributors covered as much ground as Moritz von Oswald, who paved the way for Berlin's minimalist sound with his early productions alongside Mark Ernestus. With this short, sharp collection of tracks however, Atkins, von Oswald and Fehlmann made a direct link between the sounds developing in the USA and those booming from clubs in Berlin.
Opening with a synth-heavy Atkins edit of 'Bassmental', the album starts as it means to go on with Atkins absorbing the tweaky austerity of the German set and filling it out with flashes of energetic Detroit euphoria. 'Die Kosmischen Kuriere' is another high point, building a lithe 4/4 throb over a classic Model 500-style synth bassline and post-Göttsching chords. The most memorable moment however is 'Jazz is the Teacher', that gets both a von Oswald and Fehlmann version as well as a rework from Atkins. This track is one of the era's finest moments, and Atkins' version with its neck-snapping bassline and acidic ascent of heavily-phased percussion still sounds undeniably fresh; the Berlin remix instead digs further into the jazz canon, expanding the rhythm with swung rides and adding vibraphone action that von Oswald would continue to explore on his more recent trio releases.
Next level material that's an early indicator of the breadth of exploration techno would offer. It's dancefloor material that never stops reaching for the stars.
Boomkat Product Review:
An unmissable piece of techno history, combining the talents of Basic Channel's Moritz von Oswald, early Tresor resident and Orb mainstay Thomas Fehlmann and Detroit pioneer Juan Atkins. Stargazing techno futurism that's rarely been bettered in the three decades that followed, it cemented an important early bond between Detroit and Berlin.
In the early 1990s, von Oswald and Fehlmann began working together, constructing remixes as 2MB (or 2 Men in Berlin) and then bringing Detroit pioneers Eddie Fowlkes and Juan Atkins into the fold under the 3MB moniker. '3MB feat. Magic Juan Atkins' was released in 1992, and captures Techno as it was evolving from the early no-holds-barred electro-sci experimentation of The Belleville Three (Juan Atkins, Kevin Saunderson and Derrick May) to include innovation from across Europe.
Few European contributors covered as much ground as Moritz von Oswald, who paved the way for Berlin's minimalist sound with his early productions alongside Mark Ernestus. With this short, sharp collection of tracks however, Atkins, von Oswald and Fehlmann made a direct link between the sounds developing in the USA and those booming from clubs in Berlin.
Opening with a synth-heavy Atkins edit of 'Bassmental', the album starts as it means to go on with Atkins absorbing the tweaky austerity of the German set and filling it out with flashes of energetic Detroit euphoria. 'Die Kosmischen Kuriere' is another high point, building a lithe 4/4 throb over a classic Model 500-style synth bassline and post-Göttsching chords. The most memorable moment however is 'Jazz is the Teacher', that gets both a von Oswald and Fehlmann version as well as a rework from Atkins. This track is one of the era's finest moments, and Atkins' version with its neck-snapping bassline and acidic ascent of heavily-phased percussion still sounds undeniably fresh; the Berlin remix instead digs further into the jazz canon, expanding the rhythm with swung rides and adding vibraphone action that von Oswald would continue to explore on his more recent trio releases.
Next level material that's an early indicator of the breadth of exploration techno would offer. It's dancefloor material that never stops reaching for the stars.
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Gatefold 2LP.
Boomkat Product Review:
An unmissable piece of techno history, combining the talents of Basic Channel's Moritz von Oswald, early Tresor resident and Orb mainstay Thomas Fehlmann and Detroit pioneer Juan Atkins. Stargazing techno futurism that's rarely been bettered in the three decades that followed, it cemented an important early bond between Detroit and Berlin.
In the early 1990s, von Oswald and Fehlmann began working together, constructing remixes as 2MB (or 2 Men in Berlin) and then bringing Detroit pioneers Eddie Fowlkes and Juan Atkins into the fold under the 3MB moniker. '3MB feat. Magic Juan Atkins' was released in 1992, and captures Techno as it was evolving from the early no-holds-barred electro-sci experimentation of The Belleville Three (Juan Atkins, Kevin Saunderson and Derrick May) to include innovation from across Europe.
Few European contributors covered as much ground as Moritz von Oswald, who paved the way for Berlin's minimalist sound with his early productions alongside Mark Ernestus. With this short, sharp collection of tracks however, Atkins, von Oswald and Fehlmann made a direct link between the sounds developing in the USA and those booming from clubs in Berlin.
Opening with a synth-heavy Atkins edit of 'Bassmental', the album starts as it means to go on with Atkins absorbing the tweaky austerity of the German set and filling it out with flashes of energetic Detroit euphoria. 'Die Kosmischen Kuriere' is another high point, building a lithe 4/4 throb over a classic Model 500-style synth bassline and post-Göttsching chords. The most memorable moment however is 'Jazz is the Teacher', that gets both a von Oswald and Fehlmann version as well as a rework from Atkins. This track is one of the era's finest moments, and Atkins' version with its neck-snapping bassline and acidic ascent of heavily-phased percussion still sounds undeniably fresh; the Berlin remix instead digs further into the jazz canon, expanding the rhythm with swung rides and adding vibraphone action that von Oswald would continue to explore on his more recent trio releases.
Next level material that's an early indicator of the breadth of exploration techno would offer. It's dancefloor material that never stops reaching for the stars.
Estimated Release Date: 25 June 2021
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
An unmissable piece of techno history, combining the talents of Basic Channel's Moritz von Oswald, early Tresor resident and Orb mainstay Thomas Fehlmann and Detroit pioneer Juan Atkins. Stargazing techno futurism that's rarely been bettered in the three decades that followed, it cemented an important early bond between Detroit and Berlin.
In the early 1990s, von Oswald and Fehlmann began working together, constructing remixes as 2MB (or 2 Men in Berlin) and then bringing Detroit pioneers Eddie Fowlkes and Juan Atkins into the fold under the 3MB moniker. '3MB feat. Magic Juan Atkins' was released in 1992, and captures Techno as it was evolving from the early no-holds-barred electro-sci experimentation of The Belleville Three (Juan Atkins, Kevin Saunderson and Derrick May) to include innovation from across Europe.
Few European contributors covered as much ground as Moritz von Oswald, who paved the way for Berlin's minimalist sound with his early productions alongside Mark Ernestus. With this short, sharp collection of tracks however, Atkins, von Oswald and Fehlmann made a direct link between the sounds developing in the USA and those booming from clubs in Berlin.
Opening with a synth-heavy Atkins edit of 'Bassmental', the album starts as it means to go on with Atkins absorbing the tweaky austerity of the German set and filling it out with flashes of energetic Detroit euphoria. 'Die Kosmischen Kuriere' is another high point, building a lithe 4/4 throb over a classic Model 500-style synth bassline and post-Göttsching chords. The most memorable moment however is 'Jazz is the Teacher', that gets both a von Oswald and Fehlmann version as well as a rework from Atkins. This track is one of the era's finest moments, and Atkins' version with its neck-snapping bassline and acidic ascent of heavily-phased percussion still sounds undeniably fresh; the Berlin remix instead digs further into the jazz canon, expanding the rhythm with swung rides and adding vibraphone action that von Oswald would continue to explore on his more recent trio releases.
Next level material that's an early indicator of the breadth of exploration techno would offer. It's dancefloor material that never stops reaching for the stars.
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