NWW’s Colin Potter does early techno house!!! Or as close as he’ll get to it, at least, on a set of thrumming grooves benefitting from his patented, systems based tekkers. We rate you’ll agree; it’s a dream come true for fans of Tuning Circuits, Larry Heard, CTI, PWOG, Beau Wanzer, The Dad’s
Recorded between the late ‘80s and early ‘90s, and very much redolent of contemporaneous industrial dance/new beat/EBM/proto-techno, ‘Ago’ hails the mad boffin at the knobs on six propulsive pieces of hardware-hewn 4-to-the-floor rhythm and hypnotic, layered electronics bound to do the damage in spangled nightclubs and the endless afters. It also notably features some of the earliest instances of Potter using an Atari computer for MIDI sequencing, which he acknowledges as feeling “a bit weird in those days”, and “Ironic really, given the situation now”, but likewise signifies how his music has both reflected and mutated modes of progressive electronic music since Potter’s earliest joints circa 1981 issued on his legendary ICR label.
Working at his studio in Tollerton - a tiny village in North Yorkshire, detached from the usual power centres of electronic music and the kind of dance trax explored here - ‘Ago’ depicts Potter at his most purposefully rhythmic. He’s clearly drawing on the whole dance phenomenon of the era, but with the custom style of detuned and unique electronic timbres that have always defined his work. It all marks a hitherto unforeseen aspect of his oeuvre, with a singular quality attributable to his earliest experiments with integrating old analog synths with new machines, and each cut thus fizzes with a mesmerising, direct energy and combustible thrill of the new that makes it all sound uncannily fresh some 30 years later.
Made in relative isolation from any notable dance scene at the time, the trax weren’t made for any specific club or soundsystem crew, as was much dance music of the time, but rather follow his nose for a mutant take on rhythmic electronics that better reflect the thrust of fellow northern outliers such as TG’s Chris & Cosey or parallels across the North Sea in Rene Bakkers’ Tuning Circuits and lowlands kin Psychick Warriors of Gaia or The Dad’s in cuts such as the gnashing bucker ‘No More’ or ‘Know No Thing’, as much as Larry Heard’s Chicago templates in ‘Know More’ and the 12 minute wonder ‘Washing Machine’, with an eerie sore thumb of eldritch waltz in ‘Malton’ that echoes his earliest gems.
What a revelation?! Maddest recommendations.
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NWW’s Colin Potter does early techno house!!! Or as close as he’ll get to it, at least, on a set of thrumming grooves benefitting from his patented, systems based tekkers. We rate you’ll agree; it’s a dream come true for fans of Tuning Circuits, Larry Heard, CTI, PWOG, Beau Wanzer, The Dad’s
Recorded between the late ‘80s and early ‘90s, and very much redolent of contemporaneous industrial dance/new beat/EBM/proto-techno, ‘Ago’ hails the mad boffin at the knobs on six propulsive pieces of hardware-hewn 4-to-the-floor rhythm and hypnotic, layered electronics bound to do the damage in spangled nightclubs and the endless afters. It also notably features some of the earliest instances of Potter using an Atari computer for MIDI sequencing, which he acknowledges as feeling “a bit weird in those days”, and “Ironic really, given the situation now”, but likewise signifies how his music has both reflected and mutated modes of progressive electronic music since Potter’s earliest joints circa 1981 issued on his legendary ICR label.
Working at his studio in Tollerton - a tiny village in North Yorkshire, detached from the usual power centres of electronic music and the kind of dance trax explored here - ‘Ago’ depicts Potter at his most purposefully rhythmic. He’s clearly drawing on the whole dance phenomenon of the era, but with the custom style of detuned and unique electronic timbres that have always defined his work. It all marks a hitherto unforeseen aspect of his oeuvre, with a singular quality attributable to his earliest experiments with integrating old analog synths with new machines, and each cut thus fizzes with a mesmerising, direct energy and combustible thrill of the new that makes it all sound uncannily fresh some 30 years later.
Made in relative isolation from any notable dance scene at the time, the trax weren’t made for any specific club or soundsystem crew, as was much dance music of the time, but rather follow his nose for a mutant take on rhythmic electronics that better reflect the thrust of fellow northern outliers such as TG’s Chris & Cosey or parallels across the North Sea in Rene Bakkers’ Tuning Circuits and lowlands kin Psychick Warriors of Gaia or The Dad’s in cuts such as the gnashing bucker ‘No More’ or ‘Know No Thing’, as much as Larry Heard’s Chicago templates in ‘Know More’ and the 12 minute wonder ‘Washing Machine’, with an eerie sore thumb of eldritch waltz in ‘Malton’ that echoes his earliest gems.
What a revelation?! Maddest recommendations.