Discography
David Mayer - Crime
David Mayer appears within the Keinemusik- category system as the subtext virtuoso, as an amplifier of effects on a microscopic level. He made it already clear with his digital only debut „Nacktenordner“ EP, which was the very first release on Keinemusik, and then stressed it through his contribution to the Keinemusik #5. „Crime“ is Mayer’s first own vinyl release on Keinemusik and nothing less than the updated improvement of his trademarked sound parameters.
A1: „Crime“ shortens the distance between reduction and sophisticated soundmodelling on one hand and clear peaktime qualities on the other, far more consistent than any of his previous productions. His armory of engine room-acoustics is accompanied by vocal sounds, that hint towards his parttime obession with the obscure, but nevertheless shape a hook that definitely sticks in your head. But besides all emphasis on details, with its subbass aggregation and the dry punch of its snare, „Crime“ directs to the floor the straight way. Doing so from the first bar and on, it will eliminate the last man standing and make him dance after the first break at the latest.
B1: The Re.You edit reduces the immediacy of the original and adds some percussive patterns to the groundings. The accentuated bassline seems to build up a linear structure, but after an excess length break, it is reborn as a groove affirmation par excellence. The version inverts some of the aspects of the original and enforces others, but generally, it is set on eye level in the battle for the higher rotation count.
Digital only: This Beatport-Exclusive comes from our friends from lo*kee in London, Sebastian Voigt and Tom Gillieron (together aka Indoor Fireworks). Their mix sounds as if it was laid out in CinemaScope, it opens up a few angles left out by the original and, despite being lush and rich in details, comes across deliberately stripped down. It focuses less on peak time effects and more on crisp cyber funk and shines as a cleverly staged afterburner.
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Keinemusik - Workparty One
A1: Rampa – Falk
“Falk” starts out to be an unmistakable imperative for some hands-up-animation. The beatframe is about to push the floor to a tightness that lets you wonder, whether the sounds of rapture are coming from a crowd rubbing each other up or actually from the tune. To make that clear: “Uuh” and “Yeah” are a couple of samples leading the way to the most soulful break you heard in months. A break that will crumble down to explicit straightness and unfussy efficiency again. Definitely a big one.
A2: David Mayer – Ball
Davids first vinylrelease on Keinemusik is his most conclusive consolidation of everything, he set up with his previous works on the “Nacktenordner” EP. It’s a blend of massively pumping grooves and engine room-acoustics with a smart kickdrumdesign and a dramatic composition that builds up on reduction but nevertheless is able to incorporate unexpected details.
B1: &ME – Youth
&ME comes up with a track that might be seen as the advanced continuation of his world-, or lets say floorformula, that already caused quite a stir when he released “F.I.R.”. “Youth” elevates from a clever directed buildup, modulates vocalsamples to concrete hooklines, piles layers of deep sexappeal over another and reveals by means of an almost song-like fetish for structure this absolutely evident, yet subtly and sophisticatedly constructed peaktime-smasher.
B2: Adam Port – No Pain
Around the vocaltracks of a song by Leipzig based band Shandy Mandies, an aesthetic is being built that could be seen as an antithesis to the sound Adam Port became known for. “No Pain” doesn’t find its deepness in the polyrhythmic patterns of Tribalhouse-standards, but in more remote interspaces, in which Port fleshes out the backbone of a slowly rising groovebastard to a compelling forerunner of New Wav-ish Shoegaze-Techno.
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Adam Port - Chemistry
Side one holds the original. Countless percussive details and the jazzy vibe that was introduced with „Boogie Bass“ are playfully arranged around a thick and concise bassline. They are just waiting for sex-laden vocals that will assure, this is not only a groovemonster, but a deep and soulful and catchy tune that won’t leave your ears for days. It never gets predictable, though. It’s blending an elaborate dramaturgy with peaktime-efficiency, that’s just not to be mistaken.
The Catz ‘n Dogs & Till von Sein-Remix on the B-side is pushing even harder towards floor-frenzy. It chops most of the percussive arabesque, cuts the vocalsamples to staccato-pieces and leaves a Techhouse-groove that’s sneaking towards a snare drum that finally will tear every club to pieces. Immediately, that is.
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Rampa - Wife & Man
“Wife” starts out with a straight Techhouse-introduction, picking up more and more House-references as soon as the first break is over. When the vocal sample kicks in, slightly reminiscent of the possibility of being recorded tooth-brush-in-mouth under the shower, you might find relief in the fact that its originator obviously didn’t loose his sense of humor. Pass break number two and you will be assured that deepness and peaktime qualities don’t necessarily have to seclude themselves. “Man”, in comparison, shadows a bit wider and darker. A saturated kickdrum meets cagy percussions meets bell-decorations meets vocals that let every bassline look pale. As in the counterpart, functionality, precise timing and a passion for details pair without letting loose until the last beat is over. The M.in & Patrick Kunkel re-work of “Wife”, as a worthy closure, brightens up the original a little bit, adding bongos and lashing snares to form a less housy, but more playful and percussive Variation.
| Song | Hear | Free | Price | Buy |
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&ME - F.I.R. +++
“F.I.R.” is the essence of everything &ME stands for, a true and flawless peaktime-beauty. It joins his intuition for stringency in structure, his sensibility for a sophisticated and safe walk over the shaky bridge from House to Pop, the precision of laying out a track to be unmistakably danceable, but not intrusive and last not least his ability to pitch a female vocal-sample to let it sound like a Rick Astley-outtake. Safe to say, that this might be his sweetest work so far. “+++” on the other hand appears to be some tricky chicanery. It starts like a lot of B-sides start, as a reduced space for little reflexive experiments, or however it is whitewashed when a track just isn’t that spectacular. But then, there is a kickdrum-monster arising out of this housy self reflection, a monster, that grabs some percussions and vocalsamples as companions and culminates into a massive break, that won’t leave anything behind but a moistured floor and for sure no pending questions.
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David Mayer - Nacktenordner EP
The titletrack is slowly elevating out of a died away machine-room-corner. It’s taking its route, passing a bassline, that’s varnished in deathly funk, culminating in a subtle call to rave.
The following Paneek is essential Floorcraft, a focused groovemonster that he’s fleshing out with delicate accents just as if he was Paul Bocuse and the track a truffle-ragout. Eifkoenig is drafted that crispy, that with every kickdrum the speakers seem to cough out a trace of graphite.Oenske is oscillating between Deephouse-followings and Trance-outlines. It is without a doubt the most reflective work within this bunch, but at the same time it’s not meant to be pushed off into an unrecognized set-niche.
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