When Answer Code Request’s first EP suddenly hit the shelves of Berlin’s seminal record store Hard Wax in 2011, speculation across the web took up instantly.
Was this another incarnation of affiliated Techno stalwarts, like Marcel Dettmann or Shed?
A lot of people were very sure it had to be, even if further discussion seemed to agree that the music contained on this mysterious 12” would mean a bold redesign, as it was quite a different beast.
Sure, there was the industrial punch, heavy groove and fierce determination associated with the Berghain sound and Ostgut Ton’s artists, but then again there were so many unfamiliar layers and signatures. It merged Berlin’s Techno heritage with Detroit melancholia, the heyday of UK’s “Artificial Intelligence” and the rhythmic innovations of the most current bass music, and ended up with a sound original and fresh.
A musical concept that was so significantly different to what was already happening, that it was indicating the fact that this was not an established artist testing new grounds, but a new artist emerging to be that very new ground, and nothing less.
As the identity of the enigmatic producer behind Answer Code Request was revealed to be Patrick Gräser, at least some of the buzz was on the right path.
Before Answer Code Request became his project to be in 2010, he spent his youth in the same small hometown near Berlin as Marcel Dettmann and Marcel Fengler, sharing their experiences of hitting the big city as a teenager, in search of the records and clubs that formed the tradition in the 90’s, then taking up DJing and producing shortly after, and sticking with it, and being successful with it as well.
If you listen to the music of Answer Code Request, be it on his astonishing records, as accordingly astonishing live act, or in the shape of his diversified and tremendously executed DJ sets, it all fits together. It seems it only took Answer Code Request a bit longer to enter the spotlight because he wanted it that way. He waited until everything was perfect and ready to go.
And then it took him way shorter than almost everybody else to break through, and stay, just because of that.
From first public appearance to internationally acclaimed artist,
performer and Berghain resident DJ, it only took Answer Code Request a year
The Drifter is Mark Flynn, an Irish producer, singer and dj living in Berlin. He released his first solo work, the ‘Lovers’ EP on Permanent Vacation last year. It has been receiving some nice feedback from the likes of James Murphy, Slow Hands, Marcus Worgull and Kaspar Bjorke. He has also lent his kaleidoscopic voice to productions of friends such as Erdbeerschnitzel, Good Guy Mikesh & Filburt, Baikal, Worst Friends and Jacob Korn. He runs the club night ‘Passion Beat’ at Loftus Hall together with Mano Le Tough, an old buddy from his home town of Greystones. Both share a passion for deep, emotive and dark shimmering house music, and have together founded the label Maeve. Future releases for The Drifter include releases for both Permanent Vacation and Maeve. Past remixes include Woolfy vs. Projections, Uma and Ships. He djs regularly in various clubs in Berlin and beyond.
Over the past few years, Mano Le Tough has become one of the shooting stars of the international dance music scene. His impact has been so great that Kristian Beyer of Âme claimed recently in an interview that: “Thanks to Mano Le Tough, I have no fears for the future of House”. And not just Beyer, the entire Innervisions gang including Âme and Dixon have become fervent supporters of Mano Le Tough’s warm and melodic, yet driving sound.
Who is the man behind the music that currently inspires established DJs and music fans alike around the globe?
Niall Mannion as Mano is known to his parents, is originally from Greystones, a seaside village near Dublin, Ireland. After an eclectic musical youth and a move to Berlin, Mannion first popped up on the electronic music radar in 2009 with an ep on legendary disco Viking Prins Thomas’ Internasjonal label. With his unique mixture of modern disco, atmospheric house and electronica (although musical genres like these do not quite capture the essence of Mano’s music; he prefers to describe it as “cool songs” or “Folkal House” which seem in some way more appropriate), Niall quickly gained massive interest in his music. So it was no surprise that eps on such acclaimed labels as Tensnake’s Mirau imprint, Dirt Crew recordings and Ben Watt’s Buzzin Fly followed his remarkable debut. In no time Mano also became a much sought after remixer for the likes of Aloe Blacc , Midnight Magic, Flowers and Sea Creatures and Roisin Murphy.
That Mano also knows his onions as a DJ has been proven over the years at his monthly party in Berlin called Passion Beat, which he runs with his old friend and fellow paddy “The Drifter” (with him and their friend Baikal they also set up their own label “Maeve” in 2012 ). With his ever growing reputation, he soon got heavily booked worldwide and became a regular in some of the best clubs in the world including Panorama Bar, Trouw and Robert Johnson. All of his great experiences as a musician and artist culminate now in Mano Le Tough’s first long player, “Changing Days” on Permanent Vacation. Fully aware that the album format is still the most important statement of a musician, Mano succeeds in this field with flying colors by not falling into the obvious traps of making a “dance” album with 11 songs that all seem to sound that same. Similar to his labelmate and buddy John Talabot Mano manages to expand his stylistic palette to more than “just” dance or club music. Instead he creates his own distinct sound and musical vision with bittersweet melodies and atmospheric moods that should appeal to ravers and more pop trained ears alike. On the album Mano brings to perfection what he began to explore on his last few eps, especially by using his own voice as a unique musical instrument and as a transmitter to communicate with his audience.
But let the great Irishman speak for himself: “I guess I try and make music that has an emotional resonance without being overly sentimental or schmalzy. It means a lot to me to try and connect with the listener on a deeper level and add something to their lives that’s more than a hands in the air 5am moment in a club (although there is nothing wrong with that).”
Facciamo che ti svegli una mattina alle 6:15 perché l’angelo dell’alba ha deciso così, senza senso, soprattutto perché sei andato/a a dormire alle 2:30 e la melatonina in teoria dovrebbe farti fare quelle 8h di sonno in santa pace INVECE NO
Facciamo che inciampando nel casino dei tuoi 70mq accendi le lampade e prendi questo disco:
E allora capisci che i mini album Soundtrack For No Film contengono dopotutto musiche che sono sempre esistite nel nostro subconscio
Qui stiamo parlando del Vol.2 (che poi anche il Vol.1 è una perla), sull’infoside trovate 6 tracce del progetto 291Out (la A4 vi porta lontanissimo, vera bomba, tippissimo) mentre sull’artwork side c’è un mostro leftfield targato Healing Force Project.
Io rimetto per l’ennesima volta l’ A4 altrimenti torno a dormire.
Matt Edwards è un gran volpone. Lo scorso febbraio avrebbe dovuto presentarsi a Roma assieme alla sua grande invenzione, Nina Kraviz, ma un forfait dell’ultimo secondo non ci permise di goderci appieno la duplice intesa anglo-russa. Quest’anno ci riprova in compagnia di un altro gran bel pezzo di artista, la nostrana Carola Pisaturo. Mister Rekid ci sa fare egregiamente ai piatti, ma anche al di fuori di una consolle non sembra essere affatto da meno ed il suo epocale re-work di quel capolavoro kitsch di “Horny” sta lì a testimoniarlo. Come direbbe il compianto Guido Nicheli: “Hugh Hefner is nothing!”.