Near Disco Dawn
Errorsmith
Near Disco Dawn
Boomkat Product Review:
Now of a 20 year vintage, the fiercely freaky testament to Errorsmith’s devilish computer madness has lost none of its head-swivelling brilliance over the interim - Massive RIYL SOPHIE, Batu, Mark Fell, Rian Treanor.
‘Near Disco Dawn’ is a candid expo of Erik Wiegand playing by his wits within a custom-built software system at venues (listed in track titles) in Chicago, NYC, Hamburg, Munich, and Berlin. Call it rhythmic noise, computer hooliganism, avant-techno, or a deviant racket; it’s a key touchstone of contemporary Berlin experimental music that set the tone for so much madness to ensue in the C.21st.
While nowadays Errorsmith’s work is perhaps better known for its hyper-crisp contours, melodies and rhythmic references to music from the global south, here it manifests in a much punkier, rambunctious way that sparked a lot of imaginations and confused DJs back in the day, but it’s still not hard to hear the pull of offbeat dancehall, broken beats/breakcore and garage electro-funk that propelled his bolshy grooves away from Berlin techno-house convention then and now.
Playfully brutalist and soberly spannered, the nine tracks innovate not imitate in every considered turn of the knob, coolly extruding minds/bodies thru gauntlets of modulated delay and reverb with a bloody-minded asceticism and alacrity that distinguished early Errorsmith sides like this and his eponymous debut couplet.
The twanging techno of ‘Near Disco Death at Dawn at Ultraschall’ perhaps bears closest resemblance to his later work, but nastier, and we can hear roots of the ruffest dancehall-techno in likes of ‘In a Sweat at Empty Bottle’ or its clipped iteration at WMF, while ‘Last Dance’ hammers its tattoo closest to likes of DJ Scud & I-Sound (who would issue his work on Transparent), while the jagged-toothed noise techno of ‘Never Enough’ betters the likes of Container by decades and its funked freakiness and bite.
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Boomkat Product Review:
Now of a 20 year vintage, the fiercely freaky testament to Errorsmith’s devilish computer madness has lost none of its head-swivelling brilliance over the interim - Massive RIYL SOPHIE, Batu, Mark Fell, Rian Treanor.
‘Near Disco Dawn’ is a candid expo of Erik Wiegand playing by his wits within a custom-built software system at venues (listed in track titles) in Chicago, NYC, Hamburg, Munich, and Berlin. Call it rhythmic noise, computer hooliganism, avant-techno, or a deviant racket; it’s a key touchstone of contemporary Berlin experimental music that set the tone for so much madness to ensue in the C.21st.
While nowadays Errorsmith’s work is perhaps better known for its hyper-crisp contours, melodies and rhythmic references to music from the global south, here it manifests in a much punkier, rambunctious way that sparked a lot of imaginations and confused DJs back in the day, but it’s still not hard to hear the pull of offbeat dancehall, broken beats/breakcore and garage electro-funk that propelled his bolshy grooves away from Berlin techno-house convention then and now.
Playfully brutalist and soberly spannered, the nine tracks innovate not imitate in every considered turn of the knob, coolly extruding minds/bodies thru gauntlets of modulated delay and reverb with a bloody-minded asceticism and alacrity that distinguished early Errorsmith sides like this and his eponymous debut couplet.
The twanging techno of ‘Near Disco Death at Dawn at Ultraschall’ perhaps bears closest resemblance to his later work, but nastier, and we can hear roots of the ruffest dancehall-techno in likes of ‘In a Sweat at Empty Bottle’ or its clipped iteration at WMF, while ‘Last Dance’ hammers its tattoo closest to likes of DJ Scud & I-Sound (who would issue his work on Transparent), while the jagged-toothed noise techno of ‘Never Enough’ betters the likes of Container by decades and its funked freakiness and bite.
Boomkat Product Review:
Now of a 20 year vintage, the fiercely freaky testament to Errorsmith’s devilish computer madness has lost none of its head-swivelling brilliance over the interim - Massive RIYL SOPHIE, Batu, Mark Fell, Rian Treanor.
‘Near Disco Dawn’ is a candid expo of Erik Wiegand playing by his wits within a custom-built software system at venues (listed in track titles) in Chicago, NYC, Hamburg, Munich, and Berlin. Call it rhythmic noise, computer hooliganism, avant-techno, or a deviant racket; it’s a key touchstone of contemporary Berlin experimental music that set the tone for so much madness to ensue in the C.21st.
While nowadays Errorsmith’s work is perhaps better known for its hyper-crisp contours, melodies and rhythmic references to music from the global south, here it manifests in a much punkier, rambunctious way that sparked a lot of imaginations and confused DJs back in the day, but it’s still not hard to hear the pull of offbeat dancehall, broken beats/breakcore and garage electro-funk that propelled his bolshy grooves away from Berlin techno-house convention then and now.
Playfully brutalist and soberly spannered, the nine tracks innovate not imitate in every considered turn of the knob, coolly extruding minds/bodies thru gauntlets of modulated delay and reverb with a bloody-minded asceticism and alacrity that distinguished early Errorsmith sides like this and his eponymous debut couplet.
The twanging techno of ‘Near Disco Death at Dawn at Ultraschall’ perhaps bears closest resemblance to his later work, but nastier, and we can hear roots of the ruffest dancehall-techno in likes of ‘In a Sweat at Empty Bottle’ or its clipped iteration at WMF, while ‘Last Dance’ hammers its tattoo closest to likes of DJ Scud & I-Sound (who would issue his work on Transparent), while the jagged-toothed noise techno of ‘Never Enough’ betters the likes of Container by decades and its funked freakiness and bite.
Boomkat Product Review:
Now of a 20 year vintage, the fiercely freaky testament to Errorsmith’s devilish computer madness has lost none of its head-swivelling brilliance over the interim - Massive RIYL SOPHIE, Batu, Mark Fell, Rian Treanor.
‘Near Disco Dawn’ is a candid expo of Erik Wiegand playing by his wits within a custom-built software system at venues (listed in track titles) in Chicago, NYC, Hamburg, Munich, and Berlin. Call it rhythmic noise, computer hooliganism, avant-techno, or a deviant racket; it’s a key touchstone of contemporary Berlin experimental music that set the tone for so much madness to ensue in the C.21st.
While nowadays Errorsmith’s work is perhaps better known for its hyper-crisp contours, melodies and rhythmic references to music from the global south, here it manifests in a much punkier, rambunctious way that sparked a lot of imaginations and confused DJs back in the day, but it’s still not hard to hear the pull of offbeat dancehall, broken beats/breakcore and garage electro-funk that propelled his bolshy grooves away from Berlin techno-house convention then and now.
Playfully brutalist and soberly spannered, the nine tracks innovate not imitate in every considered turn of the knob, coolly extruding minds/bodies thru gauntlets of modulated delay and reverb with a bloody-minded asceticism and alacrity that distinguished early Errorsmith sides like this and his eponymous debut couplet.
The twanging techno of ‘Near Disco Death at Dawn at Ultraschall’ perhaps bears closest resemblance to his later work, but nastier, and we can hear roots of the ruffest dancehall-techno in likes of ‘In a Sweat at Empty Bottle’ or its clipped iteration at WMF, while ‘Last Dance’ hammers its tattoo closest to likes of DJ Scud & I-Sound (who would issue his work on Transparent), while the jagged-toothed noise techno of ‘Never Enough’ betters the likes of Container by decades and its funked freakiness and bite.
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Boomkat Product Review:
Now of a 20 year vintage, the fiercely freaky testament to Errorsmith’s devilish computer madness has lost none of its head-swivelling brilliance over the interim - Massive RIYL SOPHIE, Batu, Mark Fell, Rian Treanor.
‘Near Disco Dawn’ is a candid expo of Erik Wiegand playing by his wits within a custom-built software system at venues (listed in track titles) in Chicago, NYC, Hamburg, Munich, and Berlin. Call it rhythmic noise, computer hooliganism, avant-techno, or a deviant racket; it’s a key touchstone of contemporary Berlin experimental music that set the tone for so much madness to ensue in the C.21st.
While nowadays Errorsmith’s work is perhaps better known for its hyper-crisp contours, melodies and rhythmic references to music from the global south, here it manifests in a much punkier, rambunctious way that sparked a lot of imaginations and confused DJs back in the day, but it’s still not hard to hear the pull of offbeat dancehall, broken beats/breakcore and garage electro-funk that propelled his bolshy grooves away from Berlin techno-house convention then and now.
Playfully brutalist and soberly spannered, the nine tracks innovate not imitate in every considered turn of the knob, coolly extruding minds/bodies thru gauntlets of modulated delay and reverb with a bloody-minded asceticism and alacrity that distinguished early Errorsmith sides like this and his eponymous debut couplet.
The twanging techno of ‘Near Disco Death at Dawn at Ultraschall’ perhaps bears closest resemblance to his later work, but nastier, and we can hear roots of the ruffest dancehall-techno in likes of ‘In a Sweat at Empty Bottle’ or its clipped iteration at WMF, while ‘Last Dance’ hammers its tattoo closest to likes of DJ Scud & I-Sound (who would issue his work on Transparent), while the jagged-toothed noise techno of ‘Never Enough’ betters the likes of Container by decades and its funked freakiness and bite.
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