Here is the compilation I bought the other day, Pole's first three albums, titled '1 2 3' (each album was a number, so the first was '1' and so on). Here you have some of the coolest, deepest techno I've ever heard. It has been noted with the recent reissue spurt that these albums are canonical, and I'm not arguing. Three years after the Detroit/Chicago pioneers got their historical gloss (most importantly the Juan Atkins Tresor compilation (and a while before that, the Derrick May 'Innovator' compilation)), the Germans get their due. I LOVE the Gas compilation, with all of those albums, and the Basic Channel love (I prefer BCD, but BCD - 2 is a very nice listen, too).
The story is familiar: post-Berlin wall Germany had a rapidly growing techno scene, and Mr. Pole, Esq. happened upon what would spawn glitch by accident: dropping his sampler, and plugging it back in, he noticed clicks and static and blips, and instead of adhering to techno's super-sleek, perfect future aesthetic, he kept the mistakes. This element is what lead many people to see a human element to the music. Mistakes stitched into the fabric have lead to a bit of soul that has not been fully removed since.
With perspective, and a healthy dose of glitch music under my belt, what I get from this music is a futuristic version of dub, vast distances between the high end and the low end, with slow, moving pulses going between. This is the blueprint for Deepchord, Rod Modell, and all the other recent electronic dub I've been into.
The story is familiar: post-Berlin wall Germany had a rapidly growing techno scene, and Mr. Pole, Esq. happened upon what would spawn glitch by accident: dropping his sampler, and plugging it back in, he noticed clicks and static and blips, and instead of adhering to techno's super-sleek, perfect future aesthetic, he kept the mistakes. This element is what lead many people to see a human element to the music. Mistakes stitched into the fabric have lead to a bit of soul that has not been fully removed since.
With perspective, and a healthy dose of glitch music under my belt, what I get from this music is a futuristic version of dub, vast distances between the high end and the low end, with slow, moving pulses going between. This is the blueprint for Deepchord, Rod Modell, and all the other recent electronic dub I've been into.
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