No, it’s not some sort of musical fairytale or geeky daydream, it actually happened just a couple of days ago. German synth sultans Kraftwerk, had a face-to-face encounter with the holy trinity of Detroit techno, Kevin Saunderson, Derrick May and Juan Atkins, popularly known as The Belleville Three. Kraftwerk, who are on tour in America, had come to the Motor City to perform at the Masonic Temple Theatre. But apparently, after they rearranged the heads of many Detroit fans with their performance, there was still more excitement to come.
An after-party took place at the Museum of Contemporary Art Detroit, and Saunderson, Atkins and May mixed it up with Ralf Hütter and others, making for a historic moment in electronic music. It’s the sort of what-if moment that’s probably been imagined by fans millions of times, but there it was real as life. Now if only it were possible to convince the two crews to make a record together!
Newly formed house/techno duo Azimute pop their musical cherry in a big way with “Control” for Crosstown Rebels, and we’re pleased to premiere their first offering to the world.
The musical union between DJ/producer Cesare Marchese (a.k.a. Cesare vs Disorder, who has recorded for labels such as BPitch Control, Vakant, Dumb Unit and Get Physical) and veteran DJ/musician Philippe Quenum (who co-founded Cadenza with Luciano in 2002 and has issued tracks for Soma, NovaMute and other labels over the years), the pair decided to join forces after working together on Quenum’s artist album, Face To Face, for Marchese’s Berlin-based Serialism Records.
With its booming, hypnotic bass, tight percussion and robotic vocals, “Control” is simply aching to be heard on a big sound system.
Have a listen below and tell us if you agree. And remember where you heard Azimute first.
Crosstown Rebels will release Azimute’s Control EP on vinyl on October 20, digitally on November 3. The pair will issue an EP shortly on Derrick May’s Transmat Records.
This is a good match: spiky Motor City definer May, and firebrand wildcard Edgar. Not billed as an old-versus-new soundclash, more a post-it on the fridge reminding you who invented this shit, May has the occasional look back and takes his time when looking for a deep, higher plain, through Petar Dundov’s 12 minute long “Distant Shores” and Carl Craig’s “Sandstorms” trying to solve its own crankiness. It’s about respecting the essence, as on Federico Grazzini’s “Nova,” rather than turning it into logarithms or another chance for local classics. Cradling the sphere of techno with room for some expansion, The D’s precious aura is championed with core values plugged into tribal pair Yotam Avni’s “Pentimento” and Deep’a & Biri’s “Hova.”
Edgar hotfoots it more to the club, buoyed by May’s inclusion of Benny Rodrigues. Anyone expecting his sexualised showmanship will have their disappointment soothed by his fine selection that goes toe to toe — some might say upstage — the former’s longer, broodier selections. Shock tactics left in the locker room, Kris Wadsworth’s “Connection” and Edgar’s own “Semierotic” do have more of an electro pose to them, but neither are flaunting it because they’ve got it. Edgar starts on the up with his clearly Detroit-designated “Let Yrself Be Free” and makes Magic Touch a true ambassador, continues with feisty Lando Kal, and clocks up acid rebel Kyle Hall and Darling Farah as further picks to rewind.
File under: John Beltran, Noel Jackson, Axiom Crux
Read our list of 125 dance/electronic albums to look for in 2013 here.