DETTINGER
Intershop (Remastered 2024)
Boomkat Product Review:
Olaf Dettinger's levitational debut has finally been remastered - a real forgotten classic connecting dots between early glitch pioneers like Jan Jelinek and Oval and the more recent wave of dub-minded ambient-bass hybridists like Huerco S and the 3XL crew.
Originally released in 1999, 'Intershop' was Kompakt's first artist album and although it sounds very much of its era, with glitchy, hip-hop inspired steps that lurch over crackly pads, its time seems to have come around again. Listening now, it's surprisingly prescient, capturing a moment where genre lines blurred together and nascent technology gave artists the opportunity to experiment on the margins. Issued at a time when IDM was mutating rapidly, and ambient music was still relegated to the back room, 'Intershop' draws from the same dubby, dissociated wellspring as Gas, Pole and Jan Jelinek, but arrives at slightly different conclusions. Opener 'Intershop (1)' is almost a precursor to Huerco S's fabled Loidis 12", with dusty, unstable beats nestled tightly below surging, glassy pads. Dettinger was no doubt drawing from d'n'b and hip-hop, but his subtractive process - removing all the gloss and leaving just the skeletal traces - brought him to an intriguing place, somewhere between T++ and Wolfgang Voigt.
'Intershop (3)' sticks to a similar template, harmonising nicely with material from Arovane issuesd at around the same time. But Dettinger doesn't concern himself much with melody, his tracks are rhythmic studies that counterbalance warm synthetic gasps with sinewy, bass heavy rhythms. The fingerprints of dub are there not in any particular treatments, but in his use of low end, offseting skippy, chopped-up rhythms with crackling, Jan Jelinek-style loops.
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Boomkat Product Review:
Olaf Dettinger's levitational debut has finally been remastered - a real forgotten classic connecting dots between early glitch pioneers like Jan Jelinek and Oval and the more recent wave of dub-minded ambient-bass hybridists like Huerco S and the 3XL crew.
Originally released in 1999, 'Intershop' was Kompakt's first artist album and although it sounds very much of its era, with glitchy, hip-hop inspired steps that lurch over crackly pads, its time seems to have come around again. Listening now, it's surprisingly prescient, capturing a moment where genre lines blurred together and nascent technology gave artists the opportunity to experiment on the margins. Issued at a time when IDM was mutating rapidly, and ambient music was still relegated to the back room, 'Intershop' draws from the same dubby, dissociated wellspring as Gas, Pole and Jan Jelinek, but arrives at slightly different conclusions. Opener 'Intershop (1)' is almost a precursor to Huerco S's fabled Loidis 12", with dusty, unstable beats nestled tightly below surging, glassy pads. Dettinger was no doubt drawing from d'n'b and hip-hop, but his subtractive process - removing all the gloss and leaving just the skeletal traces - brought him to an intriguing place, somewhere between T++ and Wolfgang Voigt.
'Intershop (3)' sticks to a similar template, harmonising nicely with material from Arovane issuesd at around the same time. But Dettinger doesn't concern himself much with melody, his tracks are rhythmic studies that counterbalance warm synthetic gasps with sinewy, bass heavy rhythms. The fingerprints of dub are there not in any particular treatments, but in his use of low end, offseting skippy, chopped-up rhythms with crackling, Jan Jelinek-style loops.
Boomkat Product Review:
Olaf Dettinger's levitational debut has finally been remastered - a real forgotten classic connecting dots between early glitch pioneers like Jan Jelinek and Oval and the more recent wave of dub-minded ambient-bass hybridists like Huerco S and the 3XL crew.
Originally released in 1999, 'Intershop' was Kompakt's first artist album and although it sounds very much of its era, with glitchy, hip-hop inspired steps that lurch over crackly pads, its time seems to have come around again. Listening now, it's surprisingly prescient, capturing a moment where genre lines blurred together and nascent technology gave artists the opportunity to experiment on the margins. Issued at a time when IDM was mutating rapidly, and ambient music was still relegated to the back room, 'Intershop' draws from the same dubby, dissociated wellspring as Gas, Pole and Jan Jelinek, but arrives at slightly different conclusions. Opener 'Intershop (1)' is almost a precursor to Huerco S's fabled Loidis 12", with dusty, unstable beats nestled tightly below surging, glassy pads. Dettinger was no doubt drawing from d'n'b and hip-hop, but his subtractive process - removing all the gloss and leaving just the skeletal traces - brought him to an intriguing place, somewhere between T++ and Wolfgang Voigt.
'Intershop (3)' sticks to a similar template, harmonising nicely with material from Arovane issuesd at around the same time. But Dettinger doesn't concern himself much with melody, his tracks are rhythmic studies that counterbalance warm synthetic gasps with sinewy, bass heavy rhythms. The fingerprints of dub are there not in any particular treatments, but in his use of low end, offseting skippy, chopped-up rhythms with crackling, Jan Jelinek-style loops.
Boomkat Product Review:
Olaf Dettinger's levitational debut has finally been remastered - a real forgotten classic connecting dots between early glitch pioneers like Jan Jelinek and Oval and the more recent wave of dub-minded ambient-bass hybridists like Huerco S and the 3XL crew.
Originally released in 1999, 'Intershop' was Kompakt's first artist album and although it sounds very much of its era, with glitchy, hip-hop inspired steps that lurch over crackly pads, its time seems to have come around again. Listening now, it's surprisingly prescient, capturing a moment where genre lines blurred together and nascent technology gave artists the opportunity to experiment on the margins. Issued at a time when IDM was mutating rapidly, and ambient music was still relegated to the back room, 'Intershop' draws from the same dubby, dissociated wellspring as Gas, Pole and Jan Jelinek, but arrives at slightly different conclusions. Opener 'Intershop (1)' is almost a precursor to Huerco S's fabled Loidis 12", with dusty, unstable beats nestled tightly below surging, glassy pads. Dettinger was no doubt drawing from d'n'b and hip-hop, but his subtractive process - removing all the gloss and leaving just the skeletal traces - brought him to an intriguing place, somewhere between T++ and Wolfgang Voigt.
'Intershop (3)' sticks to a similar template, harmonising nicely with material from Arovane issuesd at around the same time. But Dettinger doesn't concern himself much with melody, his tracks are rhythmic studies that counterbalance warm synthetic gasps with sinewy, bass heavy rhythms. The fingerprints of dub are there not in any particular treatments, but in his use of low end, offseting skippy, chopped-up rhythms with crackling, Jan Jelinek-style loops.
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Boomkat Product Review:
Olaf Dettinger's levitational debut has finally been remastered - a real forgotten classic connecting dots between early glitch pioneers like Jan Jelinek and Oval and the more recent wave of dub-minded ambient-bass hybridists like Huerco S and the 3XL crew.
Originally released in 1999, 'Intershop' was Kompakt's first artist album and although it sounds very much of its era, with glitchy, hip-hop inspired steps that lurch over crackly pads, its time seems to have come around again. Listening now, it's surprisingly prescient, capturing a moment where genre lines blurred together and nascent technology gave artists the opportunity to experiment on the margins. Issued at a time when IDM was mutating rapidly, and ambient music was still relegated to the back room, 'Intershop' draws from the same dubby, dissociated wellspring as Gas, Pole and Jan Jelinek, but arrives at slightly different conclusions. Opener 'Intershop (1)' is almost a precursor to Huerco S's fabled Loidis 12", with dusty, unstable beats nestled tightly below surging, glassy pads. Dettinger was no doubt drawing from d'n'b and hip-hop, but his subtractive process - removing all the gloss and leaving just the skeletal traces - brought him to an intriguing place, somewhere between T++ and Wolfgang Voigt.
'Intershop (3)' sticks to a similar template, harmonising nicely with material from Arovane issuesd at around the same time. But Dettinger doesn't concern himself much with melody, his tracks are rhythmic studies that counterbalance warm synthetic gasps with sinewy, bass heavy rhythms. The fingerprints of dub are there not in any particular treatments, but in his use of low end, offseting skippy, chopped-up rhythms with crackling, Jan Jelinek-style loops.
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