PORTER RICKS
Biokinetics
Boomkat Product Review:
In 1996 Thomas Köner and Andy Mellwig’s resoundingly influential debut Porter Ricks album arguably altered the shape of techno as we know it.
Arriving in the wake of early deep techno explorations by Basic Channel on that duo’s Chain Reaction label, ‘Biokinetics’ made techno’s grid even more fluid and elusive, and in the process brought techno as a concept closer to the unquantifiable clinamen of communal drumming as much as abstract early electronics. The all important, driving slosh of their sound would ripple thru myriad strains of experimental techno ever since, and can be heard echoed in the seasick structures and submerged ambient plangency of everyone from later Richie Hawtin and Rrose to Cam Deas or Helm.
Sluicing material from three 12”s issued between 1995-1996, the album was practically unprecedented in its scope. This can be attributed to the visionary sound design skills of its navigators, combining Thomas Köner’s arctic isolationist sensibilities with Andy Mellwig’s fine-tuned tech-nous, as applied to earlier Async Sense 12” with Gerhard Behles (co-founder of Monolake and Ableton Live) and in his 1995-1998 day job as mastering engineer at Berlin’s D&M. This confluence of hardware knowledge and wetware intuition lead them to a remarkable synthesis of styles defined as ‘Biokinetics’.
Bookended by a pair of pulsating, 12 minute ambient masterpieces in ‘Port Gentil’ and ‘Nautical Zone’, the set also touches on something like a form of gamelan noise with ‘Biokinetics 1’, and the purest systolic whale heart throbs in ‘Biokinetics 2’, while containing some of the heaviest dub techno for clubs in the hypnotic writhe of ‘Port Of Call’ and the salinated steppers special ‘Port of Nuba.’
In the age of rote business techno, it’s records like ‘Biokinetics’ that remind us of what techno was and can be - music to make you shut your eyes and move.
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Boomkat Product Review:
In 1996 Thomas Köner and Andy Mellwig’s resoundingly influential debut Porter Ricks album arguably altered the shape of techno as we know it.
Arriving in the wake of early deep techno explorations by Basic Channel on that duo’s Chain Reaction label, ‘Biokinetics’ made techno’s grid even more fluid and elusive, and in the process brought techno as a concept closer to the unquantifiable clinamen of communal drumming as much as abstract early electronics. The all important, driving slosh of their sound would ripple thru myriad strains of experimental techno ever since, and can be heard echoed in the seasick structures and submerged ambient plangency of everyone from later Richie Hawtin and Rrose to Cam Deas or Helm.
Sluicing material from three 12”s issued between 1995-1996, the album was practically unprecedented in its scope. This can be attributed to the visionary sound design skills of its navigators, combining Thomas Köner’s arctic isolationist sensibilities with Andy Mellwig’s fine-tuned tech-nous, as applied to earlier Async Sense 12” with Gerhard Behles (co-founder of Monolake and Ableton Live) and in his 1995-1998 day job as mastering engineer at Berlin’s D&M. This confluence of hardware knowledge and wetware intuition lead them to a remarkable synthesis of styles defined as ‘Biokinetics’.
Bookended by a pair of pulsating, 12 minute ambient masterpieces in ‘Port Gentil’ and ‘Nautical Zone’, the set also touches on something like a form of gamelan noise with ‘Biokinetics 1’, and the purest systolic whale heart throbs in ‘Biokinetics 2’, while containing some of the heaviest dub techno for clubs in the hypnotic writhe of ‘Port Of Call’ and the salinated steppers special ‘Port of Nuba.’
In the age of rote business techno, it’s records like ‘Biokinetics’ that remind us of what techno was and can be - music to make you shut your eyes and move.
Boomkat Product Review:
In 1996 Thomas Köner and Andy Mellwig’s resoundingly influential debut Porter Ricks album arguably altered the shape of techno as we know it.
Arriving in the wake of early deep techno explorations by Basic Channel on that duo’s Chain Reaction label, ‘Biokinetics’ made techno’s grid even more fluid and elusive, and in the process brought techno as a concept closer to the unquantifiable clinamen of communal drumming as much as abstract early electronics. The all important, driving slosh of their sound would ripple thru myriad strains of experimental techno ever since, and can be heard echoed in the seasick structures and submerged ambient plangency of everyone from later Richie Hawtin and Rrose to Cam Deas or Helm.
Sluicing material from three 12”s issued between 1995-1996, the album was practically unprecedented in its scope. This can be attributed to the visionary sound design skills of its navigators, combining Thomas Köner’s arctic isolationist sensibilities with Andy Mellwig’s fine-tuned tech-nous, as applied to earlier Async Sense 12” with Gerhard Behles (co-founder of Monolake and Ableton Live) and in his 1995-1998 day job as mastering engineer at Berlin’s D&M. This confluence of hardware knowledge and wetware intuition lead them to a remarkable synthesis of styles defined as ‘Biokinetics’.
Bookended by a pair of pulsating, 12 minute ambient masterpieces in ‘Port Gentil’ and ‘Nautical Zone’, the set also touches on something like a form of gamelan noise with ‘Biokinetics 1’, and the purest systolic whale heart throbs in ‘Biokinetics 2’, while containing some of the heaviest dub techno for clubs in the hypnotic writhe of ‘Port Of Call’ and the salinated steppers special ‘Port of Nuba.’
In the age of rote business techno, it’s records like ‘Biokinetics’ that remind us of what techno was and can be - music to make you shut your eyes and move.
Boomkat Product Review:
In 1996 Thomas Köner and Andy Mellwig’s resoundingly influential debut Porter Ricks album arguably altered the shape of techno as we know it.
Arriving in the wake of early deep techno explorations by Basic Channel on that duo’s Chain Reaction label, ‘Biokinetics’ made techno’s grid even more fluid and elusive, and in the process brought techno as a concept closer to the unquantifiable clinamen of communal drumming as much as abstract early electronics. The all important, driving slosh of their sound would ripple thru myriad strains of experimental techno ever since, and can be heard echoed in the seasick structures and submerged ambient plangency of everyone from later Richie Hawtin and Rrose to Cam Deas or Helm.
Sluicing material from three 12”s issued between 1995-1996, the album was practically unprecedented in its scope. This can be attributed to the visionary sound design skills of its navigators, combining Thomas Köner’s arctic isolationist sensibilities with Andy Mellwig’s fine-tuned tech-nous, as applied to earlier Async Sense 12” with Gerhard Behles (co-founder of Monolake and Ableton Live) and in his 1995-1998 day job as mastering engineer at Berlin’s D&M. This confluence of hardware knowledge and wetware intuition lead them to a remarkable synthesis of styles defined as ‘Biokinetics’.
Bookended by a pair of pulsating, 12 minute ambient masterpieces in ‘Port Gentil’ and ‘Nautical Zone’, the set also touches on something like a form of gamelan noise with ‘Biokinetics 1’, and the purest systolic whale heart throbs in ‘Biokinetics 2’, while containing some of the heaviest dub techno for clubs in the hypnotic writhe of ‘Port Of Call’ and the salinated steppers special ‘Port of Nuba.’
In the age of rote business techno, it’s records like ‘Biokinetics’ that remind us of what techno was and can be - music to make you shut your eyes and move.
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