HERTSI
Kohina
Boomkat Product Review:
Incendiary day zero minimal techno from Pan Sonic's shadowy third member, "Kohina" still sounds completely beguiling. Grinding, bass heavy rhythms and fuzzy industrial noise bursts - basically if yr into anything from Actress to Sleeparchive or even Alva Noto, this one's an all-timer.
Originally released back in 1993, 'Kohina' is the lone solo release from Finnish producer Sami Salo, who was a member of Pan Sonic until the late 1990s. Since its release, the four-tracker has served as a low-key genre milestone, predating and informing some of minimal/industrial techno's maddest bangers and still commanding dancefloors almost thirty years later. It emerged before Pan Sonic's genre-shifting, big room friendly "Panasonic EP", and plumbs deeper, avoiding anything as obvious as a proper warehouse kick in favor of hyper-distorted rolls and soft, pummeling subs. Still not sure? Check 'Ratina', that metamorphoses from throbbing radio static into zonked 4/4 before you're even capable of registering the shift. Ain't much else here than a fractured rhythm, but it's minimalism you can completely lose yourself in - if you've clocked SM-LL's recent UAN releases, this is the blueprint.
'Oodi Sahkolle' is more expected, the kind of glassy, rolling floor-filler that would later serve as raw material for Sleeparchive's earliest deployments like 2004's era-defining "Recycle EP". But it's 'Kohina' that has us weak at the knees; this lengthy experiment gets to the heart of what made Salo's material so enticing. Using corrupted samples and a hypnotic synthesizer loop that's eerily reminiscent of Basic Channel's early dub techno experiments, the Finnish producer transports us thru dizzy ambience into pulsating, overdriven mayhem that suggests 4/4 without fully committing to the flex. It's a track that captures the essence of the era's jaw-unhooking warehouse parties and also connects fluidly to industrial tape music and DIY noise, elements that would later become pivotal to US rave outsiders like Container and Pete Swanson. Hertsi was there first.
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Boomkat Product Review:
Incendiary day zero minimal techno from Pan Sonic's shadowy third member, "Kohina" still sounds completely beguiling. Grinding, bass heavy rhythms and fuzzy industrial noise bursts - basically if yr into anything from Actress to Sleeparchive or even Alva Noto, this one's an all-timer.
Originally released back in 1993, 'Kohina' is the lone solo release from Finnish producer Sami Salo, who was a member of Pan Sonic until the late 1990s. Since its release, the four-tracker has served as a low-key genre milestone, predating and informing some of minimal/industrial techno's maddest bangers and still commanding dancefloors almost thirty years later. It emerged before Pan Sonic's genre-shifting, big room friendly "Panasonic EP", and plumbs deeper, avoiding anything as obvious as a proper warehouse kick in favor of hyper-distorted rolls and soft, pummeling subs. Still not sure? Check 'Ratina', that metamorphoses from throbbing radio static into zonked 4/4 before you're even capable of registering the shift. Ain't much else here than a fractured rhythm, but it's minimalism you can completely lose yourself in - if you've clocked SM-LL's recent UAN releases, this is the blueprint.
'Oodi Sahkolle' is more expected, the kind of glassy, rolling floor-filler that would later serve as raw material for Sleeparchive's earliest deployments like 2004's era-defining "Recycle EP". But it's 'Kohina' that has us weak at the knees; this lengthy experiment gets to the heart of what made Salo's material so enticing. Using corrupted samples and a hypnotic synthesizer loop that's eerily reminiscent of Basic Channel's early dub techno experiments, the Finnish producer transports us thru dizzy ambience into pulsating, overdriven mayhem that suggests 4/4 without fully committing to the flex. It's a track that captures the essence of the era's jaw-unhooking warehouse parties and also connects fluidly to industrial tape music and DIY noise, elements that would later become pivotal to US rave outsiders like Container and Pete Swanson. Hertsi was there first.
Boomkat Product Review:
Incendiary day zero minimal techno from Pan Sonic's shadowy third member, "Kohina" still sounds completely beguiling. Grinding, bass heavy rhythms and fuzzy industrial noise bursts - basically if yr into anything from Actress to Sleeparchive or even Alva Noto, this one's an all-timer.
Originally released back in 1993, 'Kohina' is the lone solo release from Finnish producer Sami Salo, who was a member of Pan Sonic until the late 1990s. Since its release, the four-tracker has served as a low-key genre milestone, predating and informing some of minimal/industrial techno's maddest bangers and still commanding dancefloors almost thirty years later. It emerged before Pan Sonic's genre-shifting, big room friendly "Panasonic EP", and plumbs deeper, avoiding anything as obvious as a proper warehouse kick in favor of hyper-distorted rolls and soft, pummeling subs. Still not sure? Check 'Ratina', that metamorphoses from throbbing radio static into zonked 4/4 before you're even capable of registering the shift. Ain't much else here than a fractured rhythm, but it's minimalism you can completely lose yourself in - if you've clocked SM-LL's recent UAN releases, this is the blueprint.
'Oodi Sahkolle' is more expected, the kind of glassy, rolling floor-filler that would later serve as raw material for Sleeparchive's earliest deployments like 2004's era-defining "Recycle EP". But it's 'Kohina' that has us weak at the knees; this lengthy experiment gets to the heart of what made Salo's material so enticing. Using corrupted samples and a hypnotic synthesizer loop that's eerily reminiscent of Basic Channel's early dub techno experiments, the Finnish producer transports us thru dizzy ambience into pulsating, overdriven mayhem that suggests 4/4 without fully committing to the flex. It's a track that captures the essence of the era's jaw-unhooking warehouse parties and also connects fluidly to industrial tape music and DIY noise, elements that would later become pivotal to US rave outsiders like Container and Pete Swanson. Hertsi was there first.
Boomkat Product Review:
Incendiary day zero minimal techno from Pan Sonic's shadowy third member, "Kohina" still sounds completely beguiling. Grinding, bass heavy rhythms and fuzzy industrial noise bursts - basically if yr into anything from Actress to Sleeparchive or even Alva Noto, this one's an all-timer.
Originally released back in 1993, 'Kohina' is the lone solo release from Finnish producer Sami Salo, who was a member of Pan Sonic until the late 1990s. Since its release, the four-tracker has served as a low-key genre milestone, predating and informing some of minimal/industrial techno's maddest bangers and still commanding dancefloors almost thirty years later. It emerged before Pan Sonic's genre-shifting, big room friendly "Panasonic EP", and plumbs deeper, avoiding anything as obvious as a proper warehouse kick in favor of hyper-distorted rolls and soft, pummeling subs. Still not sure? Check 'Ratina', that metamorphoses from throbbing radio static into zonked 4/4 before you're even capable of registering the shift. Ain't much else here than a fractured rhythm, but it's minimalism you can completely lose yourself in - if you've clocked SM-LL's recent UAN releases, this is the blueprint.
'Oodi Sahkolle' is more expected, the kind of glassy, rolling floor-filler that would later serve as raw material for Sleeparchive's earliest deployments like 2004's era-defining "Recycle EP". But it's 'Kohina' that has us weak at the knees; this lengthy experiment gets to the heart of what made Salo's material so enticing. Using corrupted samples and a hypnotic synthesizer loop that's eerily reminiscent of Basic Channel's early dub techno experiments, the Finnish producer transports us thru dizzy ambience into pulsating, overdriven mayhem that suggests 4/4 without fully committing to the flex. It's a track that captures the essence of the era's jaw-unhooking warehouse parties and also connects fluidly to industrial tape music and DIY noise, elements that would later become pivotal to US rave outsiders like Container and Pete Swanson. Hertsi was there first.
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