'Resampled' takes Stroboscopic Artefacts' Sampler Series and tangles it with reflexivity. Out of the Alpha, Beta, Gamma and Delta Samplers' original 16 tracks, 8 of the producers have remixed a track from the other 8 artists. The creative process goes inverse and the original cuts get chiseled into, sanded down or polished bright. Part Two sees Modern Heads take Perc's 'Wooden Art' and create bold broken beat, the 'Jumplex Remix' is knitted, knotted and calcified. Forward Strategy Group's 'Inside the Shadows' faces Dadub's 'Metropolis Remix', the perfect descriptor for this skyscrapingly macrocosmic reworking. Frank Martiniq's 'Defiance Remix' pulls Sasse's original from tech-house and into the realm of ambitious, ecstatic brilliance. Claudio PRC's 'Perspective Mix' granulates 'Abstract Subway' to the point where all that is left is a dark, inky pool of pure harmonics, which draws Part Two to a laconic and lingering close.
'Resampled' takes Stroboscopic Artefacts' Sampler Series and tangles it with reflexivity. Out of the Alpha, Beta, Gamma and Delta Samplers' original 16 tracks, 8 of the producers have remixed a track from the other 8 artists. The creative process goes inverse and the original cuts get chiseled into, sanded down or polished bright. Part 1 opens with Lucy's 'Twofold Remix' of Xhin's 'Arrival' where what starts out as 4/4 techno resolves into an experimental dew. Jonas Kopp's 'Argatian Remix' attacks the break-beat structure of Lagrange Point to the point where it could be an early Mole People release, this is Kopp as you have never heard him before. Hironori Takahashi's 'Medue' is pushed into deep ephemerality with Obtane's 'Puppetmachine Remix' taking it to a weightless, beat less place. Donor's 'Distress Remix' of Chevel's 'Trevisun' compresses the swung baselines to create a crackling background and with the force that comes to the fore it makes for a very pithy conclusion to Part One.
A sample is a small part of the whole, selected because it’s a premier example of its class. The Delta Sampler is composed by four tracks that traverse electronic music possibilities from straight up techno to oblique drone. Opener “LX1” sees Lucy and Xhin teaming up for their first collaboration. Dark, slightly brooding, the meeting of their minds is mapped out with incisive kicks, knotty dub and hi hat sizzles. Jonas Kopp “M33” is a 4/4 structure filled with discontent. The track strains with aqueous grumbles and tense peak time techno emerges. Inigo Kennedy and Isodyne borrow their structure from the observations of physics. Their “Lagrange Point” is a bassline that fluxes between a background of reverberating pads and a foreground of slithering chords, but somehow remains constant. From here the sampler closes with “Inside The Shadows”, Forward Strategy Group’s malevolent slice of drone. The complex sequence of loops builds a reflective atmosphere that revels in the hidden.
A sample is a small part of the whole, selected because it’s a premier example of its class. The Gamma Sampler sees Stroboscopic Artefacts collect together four cuts that take you from the dance floor right into the ether. It starts resolutely dance floor as Modern Heads open with the brilliantly constructed “1969”. The track forms a perfect arc. It begins with pared-down bass, opens out as melody surfaces from deep below, stretches upwards as synth patterns bubble into being, before the other side of the curve elegantly returns to the origin. “Fade” comes from New York’s Donor. Full of offkilter, swung bass lines, its distinctly strange sound seems to harbour more than a drop of contempt. Abstract Souls unleash “Abstract Subway” full of swishing, swooping patterns. As if sampling the act of perception itself, it‘s blurred, charcoaled black but flecked with colour. The sampler is closed by Claudio PRC’s “Aphelion” which seems to transpose the sound of a planet when its orbit has curled far from the sun.
A sample is a small part of the whole, selected because it’s a premier example of its class. Stroboscopic Artefacts present the Beta Sampler, showcasing four startling fresh cuts. From Perc's exacting mind comes the brilliant “Wooden Art”. Over a bed of bubbling dub, dystopian pads slice through a gnashing wall of beat patterns. Next comes “Trevisun”, with its Detroit minimalistic approach. Chevel brings us a perfectly dizzying 10am track, replete with lopsided beats, viscous synths. Then Frank Martiniq transports us to an enchanted afterhours land with “My Visor”. This dubtechno masterpiece takes us back to a time where the elegance of synthesis and dubbing was of paramount importance. The baton is lastly handed to Berlin house giant Sasse who proudly pushes his sound in a totally new direction on “Face2Face With Reality”. Here Sasse collides his house instincts with dub know-how, creating an inspirational hybrid.
A sample is a small part of the whole, selected because it’s a premier example of its class. In the Alpha Sampler, Stroboscopic Artefacts has collected together four tracks from very different artists. Opener Obtane’s “Now I Am Blind And I Can See You” quivers and flicks, whispers and crackles itself into existence. From here, Dadub unleashes “Blue Whale’s Dub”, an immense creature trawls deep waters, but as the drop comes, iridescent light pours in. In contrast, Japanese Hironori Takahashi takes us to the noisy chaos of Tokyo with “Medue”. Through this carnivorous beast, Takahashi plays with depth perception. Weighty bassline structures, uplifting piano samples and persistent hi-hats collide. The closer is from Xhin. “Arrival” is, in his own words, “an environmental sound design experience”. Even though the bassline is entirely discarded, this is no Xhin-lite. Instead, a simmered down symphony: elemental, ecstatic and most of all, terrifying.