Oct 11, 2008

Rhotation (50) Into BPM

Hello, some mixed feelings as the 50th Rhotation is coming up, it will be the last aswell. The format has run it's cause for a year and it's time for a rethink. Personally i need to scale back aswell, as it has become too timeconsuming.. the audiobookseries will keep running ( still another 15 episodes of Canadia 2056) and more in the pipeline. As to how and what i will do, time will tell, but certainly not the 16-20 titles that came by everyweek over the last year.

I've been working towards this final and 50th Rhotation and today it's Into (the ultimate) BPM or Detroit Techno and how this uncompromising minimalist music inspired todays acts to different outcomes, whilst mainitaining the minimalist discipline....First up the godfathers as it where, Underground Resistance, their Revolution For Change compiles their pre 93 work after which the group split...Second up an artists that lived closeby but had a different background, i've posted several of his titles under divers monikers before (see Rhotation 34 and 46) but had kept his first and most minimalist Plastikman work, Sheet One, for last..at the last instant, as a festive bonus, i've added the Recycled Plastik EP aswell. Which btw compiles his earliest work under that moniker....I started with a compilation album and my final is one aswell. Basic Channel are Techno purists that took the deconstruction to the limit and with German precsion and discpline constructed a whole new world, one that came to the fore on vinyls they themselves pressed, the vinyl groove was sculpted as it where. After nine long 12" releases, the demand to create a cd to accomodate dj's and a wider audience had them compile this 80 min cd, BCD , of edited versions of their extended vinyl tracks. Btw earlier this year a BCD II saw the light, again compiled from their previous 12"


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Underground Resistance - Revolution For Change (92 now in Flac 464mb)

Begun in the late 1980s by Jeff Mills and "Mad" Mike Banks, UR related the aesthetics of early Detroit Techno to the complex social, political, and economic circumstances which followed on from Reagan-era inner-city economic recession, producing uncompromising music geared toward promoting awareness and facilitating political change. Later Robert "Noise" Hood joined the collective.The early UR catalog is defined by a typically Detroit combination of Motown and Chicago soul, and ruthless, at times caustic lo-fi techno, acid, and electro (Mills' background is in, among other things, Chicago industrial and EBM-style electro-techno, with Banks and Hood both coming from a solid house and techno base). Much of the label's early output was the product of various permutations of Banks, Mills, and Hood, both solo and in combination, before Mills and Hood left UR in 1992 to pursue (and achieve) international success. The Revolution For Change album compiled these early days of the trio.

Mike Banks continued to lead UR in the wake of the split, releasing EPs during the mid-1990s such as "Return of Acid Rain," "Message to the Majors," and "Galaxy to Galaxy" under the UR name, as well as 12-inches by increasingly renowned artists such as Drexciya.
UR tracks have occasionally been released on other labels (usually in what UR metaphorically describe as "reconnaissance" or "infiltration"). 1998's "Interstellar Fugitives", was the first full album credited to Underground Resistance, it saw Mike Banks redefining the collective's sound as "High-Tech Funk", reflecting a shift in emphasis from hard, minimal club Techno to breakbeats, Electro and even occasionally Drum and Bass and down-tempo Hip-Hop. In 1999, newcomer DJ Rolando released UR's most commercially successful EP, "The Knights of The Jaguar". In 2000, Kraftwerk released a remix single of their theme composed for the Expo 2000 in Hanover, featuring contributions from Rolando and Banks, making them two of only a handful of producers ever to be given the privilege of remixing Kraftwerk. From 2002 onwards, Kraftwerk's live shows featured the group performing UR's remixes compiled in the song now called "Planet of Visions".



01 - Riot (4:56)
02 - Punisher (5:37)
03 - Elimination (4:44)
04 - Adrenalin (4:59)
05 - Predator (6:18)
06 - Quadrasonic (6:57)
07 - Sonic Destroyer (5:00)
08 - Eye Of The Storm (6:43)
09 - Sometimes I Feel Like (6:25)
10 - The Theory (6:08)
11 - Beauty Of Decay (3:14)
12 - Killer Whale (5:16)
13 - Code Of Honor (4:02)


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Plastikman - Sheet One (93 now in Flac 317mb)

While original Detroit technocrats like Juan Atkins and Derrick May were changing the face of electronic music in the mid-'80s, Richie Hawtin was growing up across the river in Windsor, Ontario. A British native born in 1970, he moved to Canada with his family at the age of nine. Introduced to '70s electronic/minimalist pioneers Kraftwerk and Tangerine Dream by his father (who was a robotics engineer for General Motors), Hawtin began DJing at the age of 17 -- as DJ Richie Rich -- and soon landed gigs at Detroit hot-spots like the Shelter and the famed Music Institute, home to all-night club sessions by May and Kevin Saunderson.

Hawtin and +8's co-founder, John Acquaviva, began working together in 1989, originally to make a Derrick May megamix for use on the radio; they later emerged from Acquaviva's studio with several original recordings. The duo issued one single, "Elements of Tone" as the first release on +8 Records (credited to States of Mind), and sat back while many in the techno world puzzled over who was responsible. The label's later releases in addition to various Hawtin/Acquaviva projects -- made the label famous for laboratory-precise techno based on slowly evolving and shifting acid lines. The aggressive sound matched the work of the label/artist collective Underground Resistance as the best techno to come out of Detroit in the early '90s. Hawtin's style formed by a fusion of the barest acid house and straitjacket-tight Detroit techno, and he became one of the most influential artists in the world of techno during the 1990s, even while sticking to out-of-date synth dinosaurs like the Roland TB-303 and TR-808. Hawtin combined lean percussion and equally spare acid lines into haunting techno anthems that kicked with more than enough power for the dancefloor while diverting headphone listeners as well.

The Plastikman project debuted in 1993 with two releases for +8: the seminal "Spastik" single and an album, Sheet One, which was one of the first records to turn the 303 acid box upside down from glorious high to isolationist low, dis[laying laser-precise minimalist rhythms to drive a series of echo-box acid lines that gradually acquire power over the course of lengthy album tracks . Hawtin's first wide release Dimension Intrusion, however, came with the alter-ego F.U.S.E. (short for Further Underground Subsonic Experiments). A more varied and melodic project than Plastikman. the album was released by Warp Records in late 1993, as part of the label's Artificial Intelligence series, Dimension Intrusion was also licensed to Wax Trax!/TVT for release in America. (Hawtin joined such ambient-techno heroes as the Aphex Twin, Black Dog, Autechre and B12, all receiving their wide-issue debuts.) Later, NovaMute signed an agreement with +8 and another Hawtin-founded label, Probe; Sheet One was reissued in 1994, followed by the second Plastikman LP, Musik. Much more restrained than Sheet One, the album fit in well with the growing ambient-techno movement. All told, Hawtin was responsible for the release of three albums and a good-sized EP in the span of just one year.

In early 1998, he released his third Plastikman LP, Consumed, which proved to be just as brutally shadowed as the Concept 1 material. The continued experimentalist direction showed Hawtin coming full circle, back to his position on the leading edge of intelligent techno. In May 2000, Hawtin performed at the first Detroit Electronic Festival alongside Derrick May, Juan Atkins and other techno masterminds. More than 200,000 people attended from all over the world.



01 - Drp (1:45)
02 - Plasticity (11:00)
03 - Gak (5:38)
04 - Okx (0:34)
05 - Helikopter (6:30)
06 - Glob (8:20)
07 - Plasticine (11:19)
08 - Koma (4:10)
09 - Vokx (2:07)
10 - Smak (6:42)
11 - Ovokx (2:14)


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Plastikman - Recycled Plastik (93/94 Now in Flac 279mb)

This maxi EP compiling (recycling) previous singles turned out to become the seminal minimal acid album which introduced a huge amount of people to the underground techno phenomenon.



1 - Krakpot (11:13)
2 - Elektrostatik (9:59)
3 - Spaz (7:41)
4 - Gak (Remix) (6:52)
5 - Naturalistik (4:39)
6 - Spastik (9:19)

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Basic Channel - BCD I (95 ^ now in Flac 321mb)

Basic Channel is a minimal techno production team and record label, composed of Moritz Von Oswald and Mark Ernestus, that originated in Berlin, Germany in 1993. They've become synonymous with a brand of stripped-down, ultra-minimal techno almost devoid of musical substance or intent. The duo set up a studio in Berlin on Paul-Lincke-Ufer, in a building which was eventually to house Mark Ernestus’ distributing company and shop Hard Wax, and the label's mastering studio Dubplates & Mastering, set up to ensure a desired dynamic quality for the vinyl.

The duo released a number of vinyl-only tracks under various aliases, each of which employed their signature brand of dissonant dub techno. The nine original releases were each primarily identified as Basic Channel productions by their catalogue numbers, as the Basic Channel logo on the label became more distorted and unreadable with each subsequent release. Basic Channel’s first nine releases total about 4,5 hours of music BC-01 Cyrus “Enforcement” , BC-02 Phylyps “Trak” , BC-03 Vainqueur, “Lyot (Reshape)” , BC-04 Quadrant “Q 1.1” , BC-05 Cyrus “Inversion” , BC-06 Quadrant “Dub” , BC-07 Basic Channel “Octagon / Octaedre” , BC-08 Radiance “I / II / III” , BC-09 Phylyps “Trak II” . The Basic Channel record label released only a single CD, BCD, a self-titled compilation of edited versions of their extended vinyl tracks. After which the Basic Channel imprint ceased business in 1995

However, Basic Channel is just one in a network of artists and labels also including Thomas Koner/Porter Ricks. Among the most important were Chain Reaction, which released non-Von Oswald/Ernestus productions and helped launch the careers of dub-influenced minimal techno producers such as Monolake and Porter Ricks; Basic Replay, which specialises in reggae and dancehall re-issues; Main Street, for house-related releases; and Burial Mix and Rhythm & Sound, which saw the duo's sound move away from the Detroit blueprint and closer to vocal-lead dub and reggae.



01 - Q Loop (5:28)
02 - e2e4 Basic Reshape (6:08)
03 - Mutism (5:57)
04 - Quadrant Dub I (Edit) (6:57)
05 - Radiance II (Edit) (9:21)
06 - Lyot Remix (Edit) (6:28)
07 - Presence (Edit) (8:17)
08 - Q1.1 (Edit) (1:03)
09 - Q1.2 (4:58)
10 - Radiance I (7:57)
11 - Radiance III (Edit) (3:48)


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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

7 comments:

Anonymous said...

Great post! Thanks!

kamagra said...

I think that this kind of music is wonderful, I remember that you can get some good albums!!, so my favorite one is Plastikman !!

Anonymous said...

Hello Rho!

I am formally (and humbly) requesting a re-up of Plastikman - 'Recycled Plastik'.

Thank you and have a great day!

Rho said...

Your request has been granted Anon..N'Joy and as i was in a good mood i upgraded the rest of the page too

Anonymous said...

Hi there what a great blog, any chance of a re-up of the underground resistance in flac format? would be greatly appreciated!

apf said...

Thank you so much for the re-up of Underground Resistance.

Anonymous said...

Hi Rho, many thanks I had requested the re-up of the Underground Resistance FLAC and here it is! Thanks Much!