I fell under Tender Games’ spell with a track called “Lost”; a smooth, jazzy, knock-out of a tune that for weeks I found myself humming at night and waking up to in the morning. In other words— and another language— a classic “Ohrwurm.” Now Spotify tells me the German duo’s released a new EP, Notion. These are deeper mixes. And hey, the weather’s changing — it’s officially autumn in this part of the world — why not switch gears, revel in a little darkness. These guys are the real deal, and this is slow, sexy, swoon-worthy stuff. Hit play. See what happens.
Tag Archives: Berlin
Objekt – The Goose that Got Away
Somewhere in the world right now, sweaty bodies wiggle under the subtle vibrations of sound pressure and the cool shimmer of lights. Hands defiantly carve through the fog in that cool yet barbaric manner that can only be found in a dingy club. The crowd’s energy is electric, not in an explosive Ultra Music Festival way, but rather with the calm understanding of a good time.
Berlin-based Objekt’s The Goose that Got Away brings me back to nights spent stomping away in a dark cement bunker full of sound. Imagine yourself there, and the song will force you to into a shimmying frenzy. Also, take note of the woodblock.
Moderat – A New Error
Moderat. Listening to their sound, it is no surprise they’re from the birthplace and Mecca of electronic music – Berlin. Long before the likes of Rusko and Deadmau5 brought electronic to America mainstream, accelerating a massive market of new artists, Germans were doing the 4-beat-stomp 7 nights a week. Decades of consistent passion to electronic music has cemented Berlin’s position as leaders. Entire lifetimes devoted just to creating the best synthesizer, music club, or monitor cannot be denied. As the world has opened up to electronic, some of the new perspectives have undoubtedly added a lot to the genre; others have embarrassed it with a lack of soul and a surplus of marketing. Yet in the backdrop of all these changes, Berlin’s undercurrent continues to push forward in many unique directions.
Moderat represents just one of those directions.
A Case of Nostalgia: David Bowie & Visuals
Feelings of nostalgia are ripe within the music industry and community. While nothing truly new in music has occurred since Beethoven, much of what we like in the latest artists and songs is that they sound like artists of the past – like “him”, “her”, or “them”. That is to say, these are two sides of the same coin. When I came across the mysterious band Visuals recently, I found that there was more cache to the nostalgia coin than I’d previously thought. Signed to Nicolas Jaar’s Other People label, the band hails, purportedly, from either Berlin or Brooklyn. A somewhat fitting origin considering their influences. Visual’s cover of David Bowie’s transcendent song “Space Oddity,” is worth all the borrowed nostalgia my few shekels of writerly interest could purchase.
Speaking of borrowed nostalgia and Bowie, lion of the downtown scene, Mike Doughty, gave a telling critique of the sentimentality and referencing in music at the recent Downtown Literary Festival. Doughty’s point, to put it roughly, is that we’re misguided to think we missed out if we were not at CBGBs in ’82 or Berghain in ’12. The legendary scenes, shows, and artists of yesteryear are subject to the continual production of newer, albeit highly referential, jams and tunes. Indeed, the historical record of music is awesome. But a desire for time that’s either waning or past, leads us to forgo the great music and musicians working today. This is partly why we groan a little when Bowie or say, The Strokes come out with a new album, but get giddy when SOHN or Washed Out release a single.
In this soundbite from a live show at Hammersmith in ’73, Bowie claims “Not only is it the last show of the tour, but, it’s the last show that we’ll ever do.” Yet, I’m listening some 40 years later with mixed feelings. It’s not the best Bowie song I’ve heard, but it’s certainly the most sentimental. I want both to be in sweaty, frantic, and big-haired Hammersmith, as well as to be here in the present day, where I can listen to Visuals and be pleased with the limits and breadth of the Internet era.
Something special to electronic music is that it morphs, changes, and dare I say evolves in a manner that rock n’ roll cannot. The remixing, editing, and other forms of manipulation keep electronic music dynamic and vibrant. Whereas rock n’ roll’s beauty is in improvisation during live performances. Where those two come close to meeting, as in the above Bowie cover by Visuals, is where nostalgia exceeds itself and a sublime moment awaits.
Here’s one last track from Visuals and then I’ll be out of your hair. Thanks for reading and listening. -François of The Aftermath
theaftermathmusic.com 