update 02/08/17: .zip added
Music as brutalist architecture
So from what I’ve pieced together these man are some German piss takers and or musical prodigies. Google searches don’t yield much in the way of information. No bios. No interviews. No mixes for any blogs of any variety. Apart from a questionable discog entry the only digging to do with Bielefeld Murder Boys; a group(?) whose name I really fuck with, is on music focused platforms like Bandcamp and Soundcloud. Equal parts admirable and frustrating, it’s an approach with a certain artistic flair which I also fuck with. Now whether these individuals are even from Bielefeld or not remains to be seen, but quite frankly I like the idea that somewhere in Germany there’s niggas making mad aggressive techno/breakbeats experiments, sometimes with grime style square waves and fucking Junior Reid samples and shit. I like it alot.
BMBs Soundcloud has been online since 2015, and has the activity, presentation and scathing awareness of a brilliant but lazy bedroom producer. Tags like #highvelocity and #headfirst make perfect sense when you consider how intricate and ultimately exhausting the nature of battling of breakbeats is. BMB houses the energy of those collisions in the kind of dramatic, impending doom techno associated with historic dungeons like Limelight and Tresor. The aggression is palpable, and the resultant noisy, industrial sound is reminiscent of the two genres, which have experienced a resurgence in the way only something long cast aside by an arrogant public can. Rather than leaning into these sounds, BMB retreat further into EDM’s recesses, with tags like #rave #dubstep and #hardcore giving credence to their ‘pop songs for the disorientated’ assertion if you were to swap pop songs out for club tracks. For finishing touches they heighten the effect of their build ups and breakdowns with sound effects from dancehall, and utilise breaks that show an appreciation for Hip-Hop and B-Boy culture. It’s almost not fair. The way they weave these disparate strands of mostly confrontational music together never comes across as practised studio wizardry (though it is) or meaningless exposition (as this might be), rather it points to devotees. Students of the game even.
Track titles like We are Your Ghost Producers Ghost Producers are a smirking self assessment of said education, where as At First I Thought This Was Just An Ordinary Techno But What Then Happened Made Me Cry, and Try To Play This In The Club You Fuckers hint at their challenging and imminently danceable ‘deconstructions’ which tbh I’m getting pretty sick of writing about. You can guess which trend DJ Generic 90s Pop Culture Reference (from the Overcompressed Sample House Track EP) is mocking.
In the content driven climate of 2017 you can be as up to date with certain mainstream stars as legally possible, but what is the underground when your favourite house and techno DJ or soundcloud rapper’s a cult of personality with 36k followers on twitter? For me these low key releases on Bandcamp and winking, self aware song titles point at a skilled producer (producers?) toiling away in relative anonymity, and probably talking a lot of smack on social media. I have no problem fucking with this but what I can also fuck with is the idea that Bielefeld Murder Boys is the work of an established hand, making music for zero fanfare as some form of arrogant bants or extreme lark. You never know these days. Electronic music has a rich history of DJs/producers who either shy away from the public/press or are active in doing so. Eitherway I’ma keep preeing these mans Soundcloud. In the meantime I made a likkle zip for those of you whose interest in reading this amateur press release piqued a long time ago.
Reminds me of: Joey Beltram, Zomby, DJ Stingray and Nina Kraviz might play this, Paul Woolford and Adam X might play this
#highoctanekillertechnotrack #bboybreaks #sirens #dubwizesample #bielefeldcalling