Round two showdown at the DMT Lab, flipping through some new tracks that touch on the bangin’ interface between dub & Detroit techno (with an acid taste on the tongue, of course). Thanks to DJ Test Pilot for filming the mix & providing the requisite shots of liquid fire, VJ Matsui808 for tripping me out (and upping the ante with the dark magus decahedron), and J. for stitching the whole ensemble together (a time consuming and thankless task). During this mix I blew a screw out of the crossfader, experimented with some Traktor Beatmasher & Delay efx, and switched over to a few slabs of actual vinyl at the end… as always, nothing prepared, and of course no auto sync.
A chance encounter with the DMT Lab — while writing an article on the world drumming & trance crew for Pique — led me to throw down this unprepared set on the 29th June 2012. I ran out of time to organise newer material, but what you are hearing is a slice from several (digital) crates that bear titles like “the electrik technik” and “showroom.” At points, this mix encapsulates the moment where techno meets deep trance, and where psychedelia overwhelms all sound, lost in swirling and deep rhythms, a motion and a feeling irrespective of the semantic tags of genre and style. It’s the driving rhythm, a becoming slave to the rhythm, that defines the core experience of electronic (dance) music.
Which is why this mix is called slave to the rhythm. The Afrofuturist acid roller is buried within — a remix of the Grace Jones 1985 classic — alongside a few other modern throwbacks including a wickedly dark spanking of Depeche Mode’s Personal Jesus by Heartthrob (1989; 2006) and Mathew Jonson’s remix of Inner City’s Good Life (1988; 2009).
*Of note, though the Livestream has poorer quality video, it doesn’t have the editing glitches of the Youtube video above. Apples & oranges.