TEA's 2012 in Review - Part 1

TEA started off its 2012 with a look at the acts we thought were destined to turn some heads come December this year. It was nice to see our predictive “Ones To Watch” compass stayed pointing relatively north. At the furthest tip it was Troels Knudsen, one half of Copenhagen duo Northern Structures, who unveiled his Ctrls moniker via two ballistic EPs on Belguim imprint Token. Both Ctrls and Token chieftain Kr!z later supplied TEA with two accelerated podcasts of hulking techno in 2012. 

Parisian bastion Zadig aka Sylvain Peltier added two more releases to his fledging Construct Re-Form imprint, with two dubby and Roland-centric EPs from the relatively unknown Voiski, Deception Plan and Birth Of Frequency. He also launched a new vinyl-only imprint called ARS MECHANICA.

TEA podcaster number 26 MRSK and the masked Adam Rivet (TEA podcaster number 9) had releases pressed up for the Skudge Presents imprint in 2012 and Rivet was then lucky (or unlucky) enough to grace the pages of Resident Advisor, allowing RA’s garrulous comments sections to run riot. TEA's home town heroes the Carter Bros had their stellar Metropolitan LP, originally released digitally on Cuckoo Music in 2009, pressed up to vinyl and re-released through Kevin Griffiths Tsuba imprint.

Tom Dicicco thrummed 2012 with his usual three dimensional bass sonics with a stripped back EP on his (co-run with AnD) Inner Surface Music imprint, along with a second EP on Jonas Kopp’s Traut Muzik. ISM also released the 3 Stacked Layers, From Macro To Meta EP by Walker & Kennedy, a collaboration between Patrick Walker of Forward Strategy Group and Inigo Kennedy of Token fame.

As for AnD, I spoke with them for Little White Earbuds and according to Dimitri (the D from AnD), 2012 was all about getting “harder and harder and harder”. The two, along with Truss, helped career the 2012 alumni of UK industrialist and ‘90s inspired techno into the international spotlight. 

AnD - Features/Vol 3 [Repitch]

On top of releases with Hidden Hawaii LTD and a second missive for Black Sun Records, the Mancunian outfit also launched their own white label imprint AnD, with the 001/0101 EP - two tracks of gabba-techno hardness. The pairing commenced the year with a stunning two hour homage to all things electronic and experimental in their “No Ufo’s” mix, later earmarked 11 months later by Juno Plus scribe Tony Poland as part of his “top 10 mixes of 2012 to stroll along the Regents Canal to”. 

Henning Baer up routed his Ground Theory party from the bricky Arena Club and into its new (ex-bathhouse) home of Statdbad Orderberger. On the release front, Baer carved more of a name for himself internationally with the robust Drop Out 12” on Sonic Groove, as well as additional heavy cuts for Krill Music and Isolated System. 

His K209 collaboration with Milton Bradley released just the one production this year with a mellowed out remix (in comparison) to Joseph McGeechan’s brutal Failed By The Conformists EP, released on Chicagoan imprint Prosthetic Pressings (Ancient Methods remix on the flip).

Joseph McGeechan - Failed By The Conformist [Prosthetic Pressings]

TEA’s first gig for the year was at our techno safe house My Aeon on February 11, where we celebrated a second year of blogging, touring and transcribing. Welcoming pleasantries were of course entrusted in Daniel Filipovic, TEA’s warm up specialist and one of Melbourne’s finest DJs with an unrivalled ability to woo an entering crowd with his dub-laden selections.


I then unwrapped three hours of various techno records from a 112 record haul from a recent trip to Europe. The globetrotting and newly inducted TEA resident Nic Tuohey then blew the roof My Aeon in a closing set drummed with some of Prologue and Zooloft’s most brooding cuts. He then finished with Jerome Sydenham’s hands up Vocal Dub to Flora Cruz’s “Let The Sun Shine Out”.

As part of the Fresh TEA series, Northern Structures opened our podcast and interview account with one of our most popular mixes yet. Basic Soul Unit’s Northern Heights EP for TEA label featurette Other Heights then secured my interest in pursuing the label for a written special (I saw BSU play live alongside Sven Weisemann later in the year). 





Other Heights enjoyed an industrious 2012 with releases from Justin Berkovi, Herzal & Genoveva, Metropolis aka Lapien (who mixed the podcast to accompany the Other Heights label feature) as well as three various artists releases which included tracks from Unbalance, Tom Dicicco, Markus Suckut, Brooks Mosher and Ozka.

Swiss duo Isolated Lines, discovered via Donor’s digital platform Minuscule, then curated TEA’s 18th podcast which featured some healthy techno cuts from Mike Dehnert, Redshape, Adam Rivet and Skudge, as well as their remix of local band Casque's "Edgar". 

Markus Suckut, one of 2012s stand out producers, launched his own SCKT imprint with the gritty SCKT01 - SCKT02 followed up in September. Suckut was prolific on the remix front this year supplying 11 mix ups for an assortment of labels including Semantica, EarToGround, Non Series and Gynoid, with remixes for techno heavy weights Truncate, Pfirter and Mark Broom. He also featured heavily in Myles Sergé’s TEA podcast, a producers whose lo-fi and uncompressed style of production has criminally gone unnoticed for too long, so it was a pleasure to land a mix and interview from the Grand Rapids native.

By mid February I was being treated for a severe case of RSI, which I only conquered in September. Enduring weekly physio and dry needling sessions, I gallantly pushed through. Helping keep TEA afloat was Bristol producer Jobody with some boom town sounds for TEA's 19th podcast, which unbeknown to most included “Wttp”, credited as “Unknown - Untitled [Unknown]”, by the yet to be known MPIA3 - Truss’ drum synth and 303 alias.

Cassegrain’s extended shuffles and subaqueous dub techno strayed across TEA’s rader and the duo ended up with four strong releases in 2012, raising the curtain for the Modal Analysis imprint as well as supplying other cuts for M_Rec LTD, Prologue and nutty Berlin label Killekill via a collaboration with Tin Man.

Cassegrain - Plate EP [Modal Analysis]

In late March my frustrations of rarely seeing a CDJ DJ, let alone a vinyl DJ got the better of me, resulting in the small “Refining The DJ” rant, posing the question “how does society picture the DJ?”  More rants followed, including Melbourne’s lacklustre party efforts and the impossibility of avoiding Shed’s music, whether it be room two, garden bars or the main stage.

After some salubrious dusting downs, TEA was privileged to a podcast and extensive interview with Mike Parker and the highly underrated Fanon Flowers. Benjamin Brunn dropped TEA its 22nd podcast which was soon followed up by another mix by 2012 prop Bleak. 

The Scissors & Thread imprint then debuted the sultry sounds of Frank & Tony, earning them a review, as did youANDme’s dip in the deep end with the mouche EP on emerging German imprint Dub2Dust_Rec.

TBC.

Put the Kettl' On

It's pre-TEA party Thursday, so to get you through the next working day and the trip out to My Aeon, I've brewed a quick pot of sugared beats and techno infusions.

Expect servings from Herr Dettmann, Markus Suckut, Robert Hood, Shifted, Ctrls, Mod.Civil and some TEA podcastees.  

Sverca's new mix of AnD is floating around too.

Nick Tuohey flicks the switch at 10:00pm

TEA Recommends - SCKT01

Friend, TEA interviewee and steadily rising techno pillar Markus Suckut launches his own SCKT imprint with SCKT01.

Suckut enjoyed a robust 2011 with releases on Stroboscopic Artefacts and Figure SPC as well as remixes for Gynoid Audio, Darkcell and a particularly impressive reconstruction of Session Restore's 'Warsaw Avenue'. The Velbert-Langenberg local opens his 2012 account with 3 rugged cuts in Grit, Strength and Object 700 - self explanatory techno.

Suckut at the moment is brimming with confidence as SCKT01's track titles suggest. Object 700 scored a video remake from techno editors the29novfilms and his vinyl only venture, still in its elementary phases shares similar parallels to Ben Klock's predominately solo platform Klockworks, only in a less melodic, non Berlin, Markus Suckut form.

TEA with Markus Suckut

For the budding producer Markus Suckut is a perfect example of how to patiently time your debut and burst on to a scene. Before 2010 the name Markus Suckut was probably talked about most by his mother, but after 3 successive releases on Stroboscopic Artefacts, Lineal and Figure SPC he has made strong in roads in to becoming techno's new house hold name.

Avoiding to chase the pinksilver of Berlin's inundated electronic music scene, Markus Suckut has opted to remain in his hometown of Velbert-Langenberg, a quaint German outpost known for its fresh air, woods and nibbling squirrels. A humble yet excitable Markus Suckut caught up with TEA for chats on extended DJ sets, the great outdoors, tinnitus prevention and cinnamon tea.

You have mentioned your disliking of DJ’s playing short sets. At what point does a DJ become and extended one and what is your perfect length?

First of all, thank you for having me TEA.

You are right, I really don't like playing for just two hours. I love and always try to take people on a journey when they are going to a club to see me play, I don't think that's possible in two hours. It's a big challenge for me to compress four or five hours into two and sadly most clubs only have that two hour slot. When I get booking requests I always ask them if it's possible to play longer. I usually start my sets with harder and rougher stuff because people expect that, but after a while I really like to get deep into my sets, I really enjoy the third and fourth hours.

Your releases always seem to have a track in excess of 10 minutes. Are these tracks influenced by long DJ sets and connections you’ve had or hope to make with a dance floor.

Yes, some of my tracks are around 10 minutes like 'Vary' or 'Pulse' on Stroboscopic Artefacts or 'Shine' on Figure SPC. I like that idea of creating a tool, a perfect loop you can listen to for hours, that's a challenge for me. I enjoy playing tracks like this in my sets. Take productions from DVS1 for example, they are perfect. He creates that kind of atmosphere, a clap here and there then some hi-hats, you can get lost listening to those kind of tracks. I really like to play around with this idea in my sets and productions.

You mention that artists such as Marcel Dettmann and Ben Klock are opening up dancefloors and peoples opinions of techno via their DJ sets. This could be an offspring of playing the long sets they are famous for, is this something you are striving towards as well?

I think so. I really love Ben and Marcel’s sets. Some weeks ago I had the chance see Ben Klock at a club in my home town. I hadn’t been clubbing for a while because I was getting bored of it. Where I’m from everyone plays the same, it doesn't matter where you go you always hear the same stuff, that kind of 'Beatport Top 10' music. You also have the same four to five DJ's playing at the one night on the one floor, what's the idea behind all that? I don't get it, it doesn't make sense to me. I think one or two residents and one headliner are enough to have a good night. I went to that club to see Ben and he played such a good set, maybe one of the best sets i've heard in a club to date. It was harder but after a while he got deeper. I was really shocked because the club was accepting the music he was playing. I was asking myself why all the DJ's around here aren't open minded. Maybe I’m fighting against it? I guess that's the reason why I am striving towards that.

You first started learning production in 1999. How did it all happen? Was it through DJIng, new or second hand equipment, software, your friendship groups or another means? How have you seen it build and progress to the Markus Suckut we see today?

I have been interested in electronic music from a very early age. There was a radio show every saturday night that played electronic dance music. That was one of the reasons for me to go record shopping once or twice a month, but it was more from DJing in my bedroom to no audience that got me into it. None of my friends liked that kind of music, except for one classmate. We were somewhat outsiders when it came to listening to that kind of music, everyone else was listening to commercial stuff. We recorded some broadcasts of Mayday and things like all on cassette and shared it with each other. One day I asked myself 'how are you able to produce music like this?' I think it was a natural step. I've learned everything I know now from producing music on my own and it took years to get there. It’s nice to reflect on where I am now from where I have come from.

Tell us a bit about growing up where you did and the music that influenced you when you were younger.

I was born in Hattingen and grew up in Velbert-Langenberg. It's about 10 minutes away from Essen and 30 minutes away from Duesseldorf. It's a quite place surrounded by nature, a really nice place to relax. I think it's the perfect contrast to the music I am making and perfect to come back into reality after a weekend of traveling and playing in clubs. The music which influenced me when I was younger is still influencing me in a way today. My father has a big collection of old vinyl's from when he was younger, stuff like Pink Floyd and The Rolling Stones, that was the kind of music I was brought up on.

Where are you living today and how much do your surroundings influence you?

I am still living where I grew up and like I said it's a great contrast and very inspiring. It’s great for the outdoors. I enjoy the fresh air, walks through the woods and watching squirrels eat their breakfast in the garden while I’m having breakfast. This is naturally an influence as are my moods and the people that surround me.

To the music enthusiast you have only been know since last year thanks to releases on 3 stellar techno imprints, Lucy’s Stroboscopic Artefacts, Daniela Stickroth’s Lineal and Len Faki’s Figure SPC. Not a bad start. How did all this happen?

I have produced a lot of music and never sent demos to anyone, maybe I was too shy to show people what I was doing... One day I woke up and said to myself 'Hey let's give it a try'. So I sent some tracks to those three labels as I was really into that what they were doing. All three labels answered and were interested in what I was doing.

What is it like working along side along side such influential characters such as Len Faki, Lucy and Daniela Stickroth?

It's a huge honor. I have a lot of Len's older stuff in my record collection and now he totally respects what I am doing and supports me, that's one of the best compliments you can get from a guy like him. Working alongside Lucy is also amazing, I mean what he has done with Stroboscopic Artefacts in such a short amount of time is incredible. He knows what he wants and what he is searching for. Working with Daniela is always on a very high and professional level. She also runs 'Meerestief' and has been a player in the music business for some years now. She always has an open ear for her artists and gives great advice. It's a lot of fun to work with all of them, always a challenge and never boring.

How was Vive La Fete at Butan in Wuppertal?

At Butan Club I played a four hour warm set on the Stroboscopic Artefacts floor. I started smooth and deep and by the end I got a bit harder. All of the music that night and meeting the other artists made it for me. This was also the first time I had the chance to listen to Marcel Dettmann in a club.

You are also playing Berghain April 2nd for Len Faki’s Figure Klubnacht. Should we be expecting an extended set from Markus Suckut and is this your first time playing there? How do you prepare for big sets like this?

This will be the first time I’ve played at Berghain and I prey that it won't be the last (laughs). I don’t have a set time yet but I’ve been nervous and excited as hell since Len asked me if I would like to play. I don’t plan my sets, planned sets mean that you are unable to be spontaneous and react with the crowd. That's why I never lock it any specific track before a DJ set, I always try to limit myself so I can go with the flow. I have a few tracks on my MacBook for playing with Traktor Scratch and the rest is all vinyl. The good thing is that I am always able to record each set I play to create a personal archive.

Tell us about your Monad VI release with Stroboscopic Artefacts last year. SA’s Monad concept is very particular aligning geometry and cosmogony with music. How much did you relish working on a project like this which involved the track Cosmos, something a little removed from the dancefloor

After I sent Lucy my demos he asked if I would be interested in doing Monad IV. At that time it was a total secret and no one knew about the project except the artists which were involved. It was a big challenge to do something experimental because I've never done something like that before. Lucy was pushing me a lot which was great and I really enjoyed working on that project. I finished 'Parsec', 'Pulse' and 'Wormhole' first. 'Cosmos' was last and I played around with an analogue guitar delay and everything around it came together very fast.

You are also doing a Tool for SA009. How does the production vary in making tools and do you use them yourself?

I think the main difference is that tools are for digital DJ's so they are able to lay it over another track and play around with it, tools will rarely use kicks and things like that. I like the idea of doing a tool, it's a new challenge which Lucy gave me for Stroboscopic Artefacts. I think it is a very smart way of introducing IDM into club music. My productions are something that I’m always able to use in my sets.

DJ Emerson - Non Human Beat (Markus Suckut's Basement Mix) by Markus Suckut

Tell us about the Markus Suckut remix. What factors do you take into account when remixing other producers?

First of all I need to like the original or induvidual sounds from it, this helps with spontaneous ideas whilst listening to the original for the first few times. I also prefer to remix tracks that will be released on vinyl as I really love that medium. I just made two remixes which will be digital only but I liked the originals that much that I had to do them. They will be released on 'Software' and on 'Thema' from NYC. When I start a remix I have an idea in mind and I try to bring it to life, but I don't follow any master plan.

I also saw you bought yourself a new set of ear plugs. Are you one of the smart ones and putting in preventative measures for tinitus, or is it too late?

I see a lot of DJ's who don't wear earplugs that are playing week in week out in clubs, standing next to monitors for hours. I don’t think that is very healthy for your ears. I thought it was a good investment as I would love to have a small family one day be able to hear the kids playing even when I’m 70 years old (laughs).

If 2010 was an indicator of what you are capable of, then 2011 should be stratospheric. What have you got planned for this year and beyond?

The most important thing to me is longevity but it's difficult thing to achieve in a musical career. I really try not to overflow the market and just do my own thing. There are some remixes in the pipeline which I've made over the last couple of months, around five or six. They will be released and spread over this year. Also there will be one more full EP from me released on a new label called 'Thema Spacial'. Its a sublabel of NYC label Thema which I really like and it will be on vinyl. I think this will be the second release from the catlougue and my EP will be called 'Jupiter One'. I am already working on a follow up for my 'Figure SPC - J' release together with Jeroen Search who I’m really excited about working with. It's a completely new experience for me and we will see were it goes in the next few months. For Lineal I've made something with Donor from NYC, it was quite a spontaneous project. Since we are both artists from Lineal and like each others music we thought it would make sense to do something together. So you see that I have works planned for my labels in the future, that was a main criteria of mine when first choosing those labels to work with. I’m also sitting on a bunch of material I’ve made in the last couple of month which nobody has heard yet. I have plans for these but more on that when a few more steps have been taken. It seems like I will touring a bit more as well but best to check the dates on my website for bookings.

What is your favourite TEA?

Chai-Tea with cinnamon.

Take a look at the29novfilms take on Markus Suckut's Shine & You from his Figure SPC release.

For more on Markust Suckut visit his Soundcloud here and website here.