The Prince of techno gets down heavy on his 1992 debut EP for Tresor, the first in a necessary series of chronological reissues to his foundational ‘90s works for the Berlin bastion
Some five years since etching his name in Detroit’s hall of fame with ‘When We used to Play’ for KMS, and one year on from his stonking UR debut of 1991, Blake Baxter initiated a fruitful and enduring relationship with Tresor in the ‘Dream Sequence’ EP.
Containing the subtle fingerprints of Moritz Von Oswald (Maurizio) in the spacious, tactful engineering of two highlights - ‘Dark Bässe’ and ‘The Warning’ - the 8-track session feels in flux of prevailing Motor City and Euro-rave pressure systems with subtle traces of both sounds in effect, track to track, characteristic of the era when spearheads of the OG US sound, UR (then Jeff Mills, Mike Banks, Rob Hood MCing!), were first visiting Europe and the likes of Berlin for now legendary and seminal shows.
The immense, spherical house grind of ‘Dark Bässe’ is a big highlight, with Moritz ideally emphasising Blake’s low end and noirish string tension in the upper registers, whilst dancers also get properly served in the two haughty mixes of ‘One Mo Time’, paralleling Kevin Sanderson and Chez Damier KMS zingers of the time, whereas much of the rest tends to big room rave swelter from the belgian-influenced ‘Adrenalin’ and ‘Laser 101’, to echoes of X-101 in ‘The Warning’ an d full on rave hysteria of ‘Ghost’.
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The Prince of techno gets down heavy on his 1992 debut EP for Tresor, the first in a necessary series of chronological reissues to his foundational ‘90s works for the Berlin bastion
Some five years since etching his name in Detroit’s hall of fame with ‘When We used to Play’ for KMS, and one year on from his stonking UR debut of 1991, Blake Baxter initiated a fruitful and enduring relationship with Tresor in the ‘Dream Sequence’ EP.
Containing the subtle fingerprints of Moritz Von Oswald (Maurizio) in the spacious, tactful engineering of two highlights - ‘Dark Bässe’ and ‘The Warning’ - the 8-track session feels in flux of prevailing Motor City and Euro-rave pressure systems with subtle traces of both sounds in effect, track to track, characteristic of the era when spearheads of the OG US sound, UR (then Jeff Mills, Mike Banks, Rob Hood MCing!), were first visiting Europe and the likes of Berlin for now legendary and seminal shows.
The immense, spherical house grind of ‘Dark Bässe’ is a big highlight, with Moritz ideally emphasising Blake’s low end and noirish string tension in the upper registers, whilst dancers also get properly served in the two haughty mixes of ‘One Mo Time’, paralleling Kevin Sanderson and Chez Damier KMS zingers of the time, whereas much of the rest tends to big room rave swelter from the belgian-influenced ‘Adrenalin’ and ‘Laser 101’, to echoes of X-101 in ‘The Warning’ an d full on rave hysteria of ‘Ghost’.
The Prince of techno gets down heavy on his 1992 debut EP for Tresor, the first in a necessary series of chronological reissues to his foundational ‘90s works for the Berlin bastion
Some five years since etching his name in Detroit’s hall of fame with ‘When We used to Play’ for KMS, and one year on from his stonking UR debut of 1991, Blake Baxter initiated a fruitful and enduring relationship with Tresor in the ‘Dream Sequence’ EP.
Containing the subtle fingerprints of Moritz Von Oswald (Maurizio) in the spacious, tactful engineering of two highlights - ‘Dark Bässe’ and ‘The Warning’ - the 8-track session feels in flux of prevailing Motor City and Euro-rave pressure systems with subtle traces of both sounds in effect, track to track, characteristic of the era when spearheads of the OG US sound, UR (then Jeff Mills, Mike Banks, Rob Hood MCing!), were first visiting Europe and the likes of Berlin for now legendary and seminal shows.
The immense, spherical house grind of ‘Dark Bässe’ is a big highlight, with Moritz ideally emphasising Blake’s low end and noirish string tension in the upper registers, whilst dancers also get properly served in the two haughty mixes of ‘One Mo Time’, paralleling Kevin Sanderson and Chez Damier KMS zingers of the time, whereas much of the rest tends to big room rave swelter from the belgian-influenced ‘Adrenalin’ and ‘Laser 101’, to echoes of X-101 in ‘The Warning’ an d full on rave hysteria of ‘Ghost’.
The Prince of techno gets down heavy on his 1992 debut EP for Tresor, the first in a necessary series of chronological reissues to his foundational ‘90s works for the Berlin bastion
Some five years since etching his name in Detroit’s hall of fame with ‘When We used to Play’ for KMS, and one year on from his stonking UR debut of 1991, Blake Baxter initiated a fruitful and enduring relationship with Tresor in the ‘Dream Sequence’ EP.
Containing the subtle fingerprints of Moritz Von Oswald (Maurizio) in the spacious, tactful engineering of two highlights - ‘Dark Bässe’ and ‘The Warning’ - the 8-track session feels in flux of prevailing Motor City and Euro-rave pressure systems with subtle traces of both sounds in effect, track to track, characteristic of the era when spearheads of the OG US sound, UR (then Jeff Mills, Mike Banks, Rob Hood MCing!), were first visiting Europe and the likes of Berlin for now legendary and seminal shows.
The immense, spherical house grind of ‘Dark Bässe’ is a big highlight, with Moritz ideally emphasising Blake’s low end and noirish string tension in the upper registers, whilst dancers also get properly served in the two haughty mixes of ‘One Mo Time’, paralleling Kevin Sanderson and Chez Damier KMS zingers of the time, whereas much of the rest tends to big room rave swelter from the belgian-influenced ‘Adrenalin’ and ‘Laser 101’, to echoes of X-101 in ‘The Warning’ an d full on rave hysteria of ‘Ghost’.
Estimated Release Date: 20 June 2025
Please note that shipping dates for pre-orders are estimated and are subject to change
The Prince of techno gets down heavy on his 1992 debut EP for Tresor, the first in a necessary series of chronological reissues to his foundational ‘90s works for the Berlin bastion
Some five years since etching his name in Detroit’s hall of fame with ‘When We used to Play’ for KMS, and one year on from his stonking UR debut of 1991, Blake Baxter initiated a fruitful and enduring relationship with Tresor in the ‘Dream Sequence’ EP.
Containing the subtle fingerprints of Moritz Von Oswald (Maurizio) in the spacious, tactful engineering of two highlights - ‘Dark Bässe’ and ‘The Warning’ - the 8-track session feels in flux of prevailing Motor City and Euro-rave pressure systems with subtle traces of both sounds in effect, track to track, characteristic of the era when spearheads of the OG US sound, UR (then Jeff Mills, Mike Banks, Rob Hood MCing!), were first visiting Europe and the likes of Berlin for now legendary and seminal shows.
The immense, spherical house grind of ‘Dark Bässe’ is a big highlight, with Moritz ideally emphasising Blake’s low end and noirish string tension in the upper registers, whilst dancers also get properly served in the two haughty mixes of ‘One Mo Time’, paralleling Kevin Sanderson and Chez Damier KMS zingers of the time, whereas much of the rest tends to big room rave swelter from the belgian-influenced ‘Adrenalin’ and ‘Laser 101’, to echoes of X-101 in ‘The Warning’ an d full on rave hysteria of ‘Ghost’.