On Sat, 22 Jul 2000, Mike Taylor wrote:
> Seth > Horvitz, Shawn Hatfield, Josh Clayton and Stewart Walker are all aware > of what is going on in the weird end of techno, and it shows. I think > it might have something to do with the fact that they do not have the > history that producers in Detroit might have holding them back. They are > kind of outside of that influence, and I think it might give them a > freedom that subconsciously Detroit producers do not have. good point... > Sutekh's track on Clicks and > Cuts is my favorite on the comp, Well, don't get me wrong, I love Sutekh's cut on that comp too, but I think you'd be hard pressed to call it "tech house"...where's the house? It's probably one of the least funky tracks on the first disc, more in line with the out-there-ness of the second (and again, I like the track, as well as most of the more experimental tracks on the comp)... however, what really appeals to me about the "pops n' clicks in tech-house" trend is the ability to make a track severely minimal AND funky at the same time...and um, danceable! I mean, Pan sonic has got the minimal analog thing down, but do you really wanna dance to it? It's way too stiff for me. That, I think, is where the HOUSE part comes in, and of course both Voigt (as Mike Ink) and Brinkmann, among others, have done an excellent job finding that middle ground of minimal/funky...Studio One, any number of Brinkmann 12-inchers, and Brinkmann's re-workings of Studio One and Hawtin's Concepts...of course, there is plenty of Sutekh (not to mention Twerk) stuff that really nails this minimal/funky thing...The Double Entendre EP, and one mp3 track I found somewhere on the web that really kicked, but I can't for the life of me remember what it was called, or find it again... Frank
