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Increasingly interested in making reggae, the Basic Channel duo first recorded with Tikiman in 1995, laying the foundations of Burial Mix.
Besides Basic Channel and Maurizio, in 1994 Mark and Moritz set up Main Street, for song-oriented, vocal house. This first single whips an Isleys b-line, and features Londoner Andy Cunningham, plus a Chez n’ Trent.
With Tiki, wrapping up Main Street in 1999.
With Tiki.
Three killers heralding the latest phase of this dazzling expression of a dream Dakar-Berlin nexus. All instrumental — though the opener has snatches of singing — with the vocal versions held back for the album.
The music just gets deadlier and deadlier — harder-boiled and deeper; more focussed, confident and dubwise.
Evoking the ancient cultural legacy of the griots, ‘Walo Walo’ is also the name of the sabar rhythm underlying the opener, which features Ibou Mbaye’s percussive synth-work, Mangone Ndiaye Dieng’s kit-drumming, and Bada Seck’s rigorous jolts of lower-pitched Thiol drum. The ‘Groove’ version is tough as nails; well and truly gnarly.
A tribute to the Baye Fall leader, Ndiguel Groove is a sparse, mellow interpretation of the most traditional cut on the album, showcasing Assane Ndoye Cisse’s insinuating guitar lines, Laye Lo’s super-elasticated snare-drumming, and Bada Seck playing the khine drums associated with the Baye Fall. (Short and wide; lightweight but low-pitched.)
Pretty awesome.
Eighteen freeform electronic miniatures by Lorenz Lindner — aka Mix Mup — after his love of experimental ambient and soundtrack idioms.
The monumental Chain Reaction classic, remastered by Robert Henke, and presented for the first time as a complete vinyl edition.
It’s a must; hotly recommended.
‘While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.’
Four thrilling rounds of rampage, school of Basic Channel.
Top-notch deep house in a limited, one-sided, numbered edition, the flip silk-screened.