One of my oldest and best friends, the venerable Ethan Braun, proclaimed  upon first hearing it that Ständigen Gewäsch was “what Steve Reich wished he could do” - I don’t know if I can really accept such heavy praise, but I can certainly repeat it here, to let the reader know what others have said.

Much like my feelings about jazz, I honestly have quite a hard time with techno, despite how much of it I’ve made. When I was a child, in Germany I’d hear the various eurodance and trance hits, and to the damnation of my street cred, I liked it - it was only later, after starting to play guitar and listening to more rock music that I felt like it was all a bit embarrassing. How could I fuck with Haddaway once I’d heard Hendrix? As a result of this, though I loved stuff like Aphex and DJ Shadow as much as Sabbath or King Crimson, I kept hanging on to this sense of embarrassment about 4-to-the-floor stuff. The music nerd in me felt like it was too easy, everything at the same tempo, same time signature, hyper-adherent to the genre signifiers. The romantic in me found little humanity to wrestle with, the obvious qualities all being highly mechanized and impersonal.


I first heard Basic Channel in 2008, after reading something about them in an interview with Sean Booth of Autechre - apparently I needed someone “legit” to tell me it was ok to get into techno. Shortly thereafter, I was told by a guy I was working with to get Gas’s Königsforst and Burger/Ink’s Las Vegas, if I liked the Basic Channel BCD comp I’d found on Soulseek. I loved all three, and suddenly felt like an absolute fool for having discounted techno - in fact, in contrast to the wonderful subtlety I found on these records, it made the more frantic IDM stuff I’d been into at the time seem tacky and worthless (I never really recovered my interest in IDM after this...some doors can never be closed...)

I soon got into stuff like Vladislav Delay, Pole, the other Chain Reaction albums, and the SF scene of dudes like Kit Clayton, Sutekh and Twerk. Vlad’s The Four Quarters and Kit Clayton’s stuff really hit me, and those remain perennial favourites, while the rest of it just seemed “ok” in comparison to the stuff that had opened those doors for me. When I heard BCD-2, I didn’t like it, and still don’t, as it felt like an intrusion of the hedonistic clubland nonsense I’d found so happily absent on the first volume.

I’m unsure why I’m going on so much about this, but it seems necessary, somehow. I love what techno is capable of, but hate how it so often falls so horribly short of that capacity. I could say the same, I suppose, about other genres, like metal or industrial, but nothing makes me feel quite as anhedonic as dance music that’s anything other than transcendent. It is, for me, an absolutely binary situation - it either is, or it is not. There is no middle ground, and if I say there is, it’s ‘cause I’m being charitable, or polite, and I don’t want to rock the boat of whatever conversation I’m in.

So, this album is, as should be obvious, my attempt at removing everything I dislike from the techno idiom, leaving only what I find properly numinous about it. These are sounds I would happily hear forever, uninterrupted, and I hope you feel the same, to whatever degree you do.
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