LEGOWELT : 9Tz Tapes & Unreleased 1992-2015 (Archival recordings).
"Music itself is, of course, very mystic. It has always been used in mystic rites. If you look at house & techno music, it's a kind of occult - from a certain perspective. People try to get entranced or take certain substances to get into a higher dimension. Musical notes & frequencies work on your brain on a certain way. It's occult because people don't really know what's going on, but they're compelled by it. In the Western world - around the 9th century I believe - they started using polyphonic music in Christian churches. That music came from the East, & was used to influence you to the point of being in a trance-like state.
Medieval music was also very simple in rhythm. It was just one drum playing the same pattern all the time, so it's not that difficult to make a transition to a more modern-sounding thing. They're very similar. Techno music is a little bit faster, & it's made with electronic instruments, but in the end it's pretty much the same.
I like it when music is very... unclear. It's nice when you walk down the street & it's foggy. Your imagination works differently because you cannot see things clearly, only shadows & outlines. If you use a lot of misty, foggy effects - like old delays, reverbs, & filters - the music becomes more shadowy. You can still hear the melodies but they're a little more buried. I would hope it makes it more exciting to listen to. The listener can disover secret melodies, & their imagination can be tested. For me, it doesnt really matter what you use to make music because inside the hardware there's a chip too. The whole hardware vs. software, digital vs. analogue thing, it's completely not important for me. I think purism is a very bad thing, because then you confine yourself too much. Purism can be a dead end." - excerpts from an interview with Danny Wolfers by Lauren Martin, April 2014.
I've cherry-picked 9Tz Tapes & Unreleased's track-list from the extensive (& constantly expanding) selection of gratis add-ons, off-cuts, rejects & remnants that Legowelt's Danny Wolfers regularly deposits at his official online outpost - no doubt there will be stacks more up-for-grabs by the time you read this. Though I'm happy to bypass most contemporary house & techno these days (with a handful of notable exceptions), Wolfers' productions - released under a baffling multitude of preposterous nom de plumes - have maintained a stubborn foothold on the playlist at Chéz Rooksby. Channelling, to all intents & purposes, Blake Baxter & Vangelis on a Maplins budget, his murky tech-funk squints inscrutably through an amorphous pea-souper of undulating cassette hiss, cabalistic attic static, & forensic hardware thrum. It probably goes without saying that Wolfers' singularly warped productions have little in common with the banal cut-&-paste faux-house music that today's somnolent nappy-ravers wave their flaccid glow-sticks at as, skint & bewildered, they listlessly lurch 'round Europe's mangy flyer-littered dance-floors, clutching their £5 cans of Red Stripe & uploading photographs of their tacky trainers to Instagrim, before (inevitably) dropping their vomit-flecked iPhones down an overflowing crapper. Turn the flamethrower on 'em.
n.b. Cassette recorder depiction by Mees Zikijer.
● Acid in my fridge