i ‎– Wide Road EP (2005)

Been a while, still here, lingering, busy with life, remembering the days of freewheel blogging and currently stuck in 1994 as that pivotal before and after year when everything changed. The death of grunge. Counting Crows. Cranberries. Mazzy Star. Morphine. Moby. Raving. The progression was real.

One of the earliest references to 'Echospace' in a track list, it is here for your pleasure to trace the roots of one of the few artists who can claim to have taken sound in a new direction post-Basic Channel.

Another exclusive to HTCIS.

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Echospace on Bandcamp

Oh my...

From Steven Hitchell's FB page:

"Echospace official bandcamp site going live in 1 week, the entire catalog along with unreleased content going live, mail order system setup and in place. The final archival edition of deepchord should also be landing!"

UPDATE: Stephen Hitchell has been going through some stuff so the site has been delayed. Be patient and send your prayers and thoughts his way while we wait. Though we love the music that he creates, he is human like the rest of us.

Wait in dub time and all will be ok...

Ghost In The Sound (DEMF 2013)

This is really a tough review to write. With the expectation as high as it was, it almost didn't seem like it could be met. And, truth be told, it wasn't. Which turned out to be a very good thing.

For starters, my wife and I spent Saturday night across the river in Windsor, Canada. The entry to the Windsor Tunnel is right at Hart Plaza where the festival was happening so we got to drive by the festival and the music got my blood pumping right away. I really do love this music. That night you could hear the music across the water on the river walk that was walking distance from the hotel where we stayed. A beautiful night and a beautiful morning with lots of downtime.

We moved on to check in to our hotel in Detroit on Sunday morning (couldn't get a reasonably priced room on Saturday night in Detroit).  On re-entry into the U.S. when asked by the INS guy at the gate where we were headed the look on his face was priceless when we told him we were going to DEMF.  He said we sure didn't look like your typical ravers (one guy at the party later that night told me, more than once, that I looked like a cop).  Life is full of surprises, no?

I've spent a lot of time in Detroit because of my job so am no stranger to the city. The Michigan Central Railroad Terminal, Motown, the empty buildings downtown, the wide main arteries in and around the city. I have grown fond of it (reminds me of my hometown on a much larger scale) so we spent the afternoon driving around the city looking at familiar sights, stopping for breakfast and lunch at a great cafe on Woodward and finally locating the party address.  

Anyhow, not knowing what to expect we showed up super early around 7:30 p.m. and stood outside the warehouse. (I'll see if I have better photos, never think to take them until after the fact.)

One of the guys from the production company introduced himself to us and ended up inviting us in. Great group of people all the way around. It was just an empty warehouse with a sound system and a makeshift movie screen. You can see in the photos the warehouse and the basic set-up all the way through a few fuzzy photos of the night in full tilt. We got to watch the entire evening unfold from scratch.

I have a few photos that you can see:

HERE

The photos basically show the warehouse space as we entered. Quick video shot by my wife sets the scene pretty well. No chairs, sitting on the floor. A few people in there working out logistics and sparse decor.  Movie screen, sound system, strobe lights. Pretty basic and to the point.

I recognized Steve and walked up to him and introduced myself.  He took the time to talk to me for a bit in the midst of the madness which was way cool. Super down to earth guy and funny. It was great just to have a chance to thank him in person for the music.

It was a great two hours just walking around inside the warehouse, hanging out, chatting with people from the production company and watching as the other artists and first party attendees strolled in. Had the evening ended there I would probably have been perfectly content.

Slowly the evening unfolded. The first couple of acts were good but it wasn't until JPLS dropped his set around 1:00 a.m. that the mood really elevated. Bare bones minimal techno, raw and pounding, got the crowd moving. Though I haven't been into "the scene" in almost 20 years, it all came flooding back. You could feel the energy building.

Echospace came on around 2:30 a.m. I had been expecting to sit down and watch the film of "Silent World" as Echospace scored it live, much like I saw Koyaanisqatisi a few years back with Philip Glass playing live as the movie played on the big screen or Demdike Stare scoring The Nude Vampire live. But the film, it turns out, was basically a backdrop and not the main event. This was not a sit and watch the movie as "Silent World" played. This was an old school, full on warehouse rave, even the Echospace set. And they brought high energy.

I could certainly feel the energy and the beat of the music but could not make out the finer points of the tracks played because it was overwhelmingly loud (even with earplugs fully engaged). There's a brief video snippet with distorted audio that may give a sense of the volume. I don't know what the set list was though I've read that it was Liumin/Silent World reinterpreted. It was a wall of thumping, rumbling sound that almost moved your body for you. Like my days of old I could feel the vibe in the room elevating and the enthusiasm building as the night rolled on and you could tell these guys have been around and know how to move a crowd.

I think part of the thrill of the night, aside from just being there, was the realization that this was a throwback in many ways, though obviously in a new context. Though it was an empty warehouse the setting was well choreographed through social media; though it was an artist with an evolved style of music, you could feel the warehouse roots buried in the evening coming to full fruition. I was transported back in time to twenty years ago and yet it felt incredibly fresh, a mixture of nostalgia and the thrill of discovery.  

From what I've seen posted on the Echospace FB page and Hitchell's own FB page it seems that this night was quite special for everyone, truly a night to remember. Aside from the performers (The Flashbulb and Terrence Dixon perhaps the most well known), I've seen it mentioned that Luke Hess and Kevin Martin (aka The Bug) were present in the room that night.

We did not make it to the closing acts. With no windows in the room, the cigarette (and other) smoke was eventually suffocating. But I am more than content. It was an astounding weekend and I haven't been so elated from an adventure in quite some time.

P.S. Apparently the show was recorded and may be released in the future.  I can't think of anything else that would make the evening more complete.

Ghost In The Sound (DEMF 2013)

Here are some photos found online. Credit goes to the photographer at the link below. Gives you a pretty good feel for the atmosphere at 2:00 a.m.

I have a few of my own though not very high quality shot from a smart phone (never think to take good pictures until after the fact). Will post them and provide some personal highlights from the night, perhaps this weekend. Keep looking online, hopefully some others will share photos and their own experiences as well.

The rest of the set (and other photos from the weekend) can be found here:

Ghost in the Sound

Photos are tagged well so the JPLS, Flashbulb and Echospace photos are from the evening.

Ghost in the Sound - DEMF 2013

Will be gone for a few days...

The main reason why:

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Intrusion

Really torn about this one.  Truly one of my favorite artists of all time (and that's saying a lot), Steven Hitchell, under his Intrusion moniker (along with Variant, the elusive cv313 and his association with ES and DC), has released some of my favorite tracks of recent years.

Not only was his Seduction Of Silence one of the best releases of this century, his reworkings of other well known tracks from the above mentioned back catalogue is amazing.  Whereas Rod Modell brings the "Basic Channel" sound and, more recently, those deep atmospherics lurking in the background, Hitchell brings out the "soul" from the analogue.

Together, the two make amazing music.  But, when left to their own musings, the differences in their styles become clear.  Hitchell brings the "dub" element in its essence and has a way of making the music get deep and, dare I say it, emotional.

This is a sampling of some of the output graced with his deft touch.  As much as I hate to give his stuff away, I also know that once you get your ears around these you'll get it and understand just how good and diverse he really is at his craft.  However, the reality is that in order for artists like him to continue we need to put our money where our ears are and show true support (check out my collection on my discogs page and you'll see I practice what I preach). 

Echospace has a slew of releases dropping recently (including an upcoming announcement regarding DEMF) and this is hopefully a sign of a productive 2013.  They keep evolving and changing the game where others are often content to play it safe and follow.

I really wanted to do a continuous mix of the tracks below, an ultra deep set, but don't have the software or, more importantly, the time.  

Get your headphones out (make sure there is a good bass response) and go swimming.  Deep, deep stuff.

Try

Spectral Network - Defragment (2006)

For fans of Rod Modell's Incense & Blacklight (and the whole DeepChord sound, for that matter), you will find yourself swimming in familiar terrain.

The tracks "Aloeswood" and "Ultraviolet World" were previously released as "Part 8" and "Part 9", respectively, on Spectral Network's Defragment: Part 7-10.  "Aloeswood" is an edited version of "Part 8".

A bit of background information on these releases:

Featuring 10 tracks and over 75 minutes of new material on 3 vinyl releases, this is the first new official Deepchord production in four years.

The concept for these releases began after Sickinger wrote some tracks and sent them over to Ruxpin for collaboration on a new Spectral Network album.

After Ruxpin did some remixing and reconstruction, Sickinger sent them over to Rod Modell, founder of Deepchord, for further processing. Rod went in the studio and manipulated the tracks to the extreme and gave them the infamous Deepchord treatment that he is so widely known for.

Defragment was the result and it is now being released as a Spectral Network project.

OCTAL 04 - Defragment: Part 1-3: Part1//Part2

OCTAL 05 - Defragment: Part 4-6: Part1//Part2

OCTAL 06 - Defragment: Part 7-10: Part1//Part2

For the realization of this project, Spectral Network was:

Rod Modell: Sequencing, processing, recording, atmospheres, treatments.

Sickinger: Atmospheres, samples, treatments, MPC.

Ruxpin: Atmospheres, samples, treatments.

An interesting album, if you listen to each part consecutively you can almost sense the development from straight up bouncing techno and its evolution into Rod's fascination with what is happening behind, beneath and around the beats.

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Soultek - Talking Shopcast 02 (2009)

Right up there with the RA.153 mix from Intrusion (aka Steven Hitchell), this is a podcast under Hitchell's Soultek moniker right around the time their archives would burst. 

Soultek was Hitchell's working monitor but this would take a back seat to the echospace [detroit] label and Hitchell's other projects.

The essence of the RA.153 mix can be found here but this one has some pleasant surprises.

A welcome addition to anyone's collection.

Try

An interview with Steven and the tracklisting can be found here:

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P.S.  In case you haven't noticed, I'm a big fan and loyal supporter.

The one artist/label who genuinely revived in me a passion for music that had been lying dormant for years.

Intrusion ‎– RA.153 (320 kbps) (2009)

About a year or so ago, right in the midst of a slew of releases from the echospace [detroit] label  (on which I invested silly amounts of cash) that were driven by demand from folks on a discogs dub techno forum this upgrade was dropped, also shared by the label.

If you haven't heard this mix, it's one of the standouts in the series and is perhaps the best introduction to the dub techno sound.

Originally issued at 128 kbps, here's the scoop (from the label) on this rip:

"I took it right from [the] hard drive...and converted it from an AIFF to a 320 MP3 using Pro Tools, I don't think there is a better way."

May just be dub techno's Goa Mix, this style of music at its peak as it veered off into new directions leaving imitators in the dust.

Here

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Quietus Recordings (2007-2011)

Though his music quietly grips your soul, bvdub exploded into the musical universe on his own label, for the most part releasing his own works but also capturing some early releases from Quantec and Arc Of Doves.

For those who may not be familiar with bvdub (aka Brock Van Wey) that is difficult to believe considering the incredible volume of musical output (8 albums in 2011 and 5 so far in 2012 not to mention EPs, remixes and other musical adventures).

His White Clouds Drift On And On is one of the best releases of this century and is one of those rare albums that ushered in a sound that is unmistakably his and his alone.  In fact, it caught the ear of Steven Hitchell who not only released it on his echospace [detroit] label but who was moved to create a series of remixes under his Intrusion moniker for Disc 2 of the release.

While this label is currently in hiatus and the albums long out of print (and going for lots of cash in the resale market) the quality of the releases continue to stand the test of time.

The label, the artist(s) and the music all get the highest recommendation.

Explore

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Echospace...

For those who have followed this blog for a while you'll know of my indulgence, if you will, of Echospace/Deepchord and all variations these guys put out.  I haven't really followed any one particular artists for a long, long time but with these guys I am enjoying music in a way I haven't for quite some time.

My first true purchase from their label was an original issue of Brock van Wey's White Clouds Drift On And On which, if you don't have a copy of it yet, is one of the more essential releases of the past few years. 

Better known as bvdub, this is so far his only release under his real name.  A second batch of these discs has made its way into the marketplace so if you're interested, snap up a copy at a reasonable price.

Since then I've picked up every CD release (as well as some vinyl) and will probably continue to do so. 

There are no direct d/l links to the new releases here but, as is the way today, these aren't too hard to find if you want to hear them.

Currently on heavy rotation:

Seconds To Forever [Extended Live Excursion] (2011)

I've always been a fan of the long players, as Rod Modell called them, those tracks that you wish would go on and on forever, thus my early love of the remix, the DJ mix and, nowadays, releases such as this one.

This one kind of worked in reverse.  Over at discogs there is a pretty solid group of fans who have been noticed by the artist and over the course of some time and the prompting of an intern who had been working for the label, this saw the light of day. There have been a series of releases driven primarily by this fan interaction. 

Anyhow, for those who enjoy the regular issue releases, this is a dream of an album, a behind the scenes treat of sorts as it contains the live record from which the 12" of the same name was released and gives a hint at the process of an artist at work.

Highest recommendation.  Though it's out of print on CD, if you are intereseted in the physical release it is not too inflated in price compared to what some other limited edition releases fetch.

Release Info

Also on heavy rotation:

Variant - Falling Stars  (2011)

Variant, for those who don't know, is the alter ego of Steven Hitchell (aka Echospace, aka Intrusion) with his "ambient" side.

There are multiple versions of this album.  The original release was digital and contained a 52 minute epic of analogue ambience that soon disappeared once released on CD.  I posted the original release a while back for those who are interested.

Again due to fan interest, the long deleted track was re-issued as a CD.  Originally slated to contain remastered versions of two tracks from original digital release, the final version has only the original track remastered but with an additional 10 mintues added on. 

For those who have the original digital version there is something magical about having it on CD (as has been the trend over the last several releases, I purchased a copy) and the fact that 52 mintues of analogue bliss is now 62 minutes makes this one to own.

So there are five variations of this release that exist:

1) Original digital version (no longer available online)

2) CD release ("Falling Stars" replaced with 4 new tracks)

3) Second digital version (same track listing as the original digital release except the "Falling Stars" track has been cut down to 44 minutes)

4) Falling Stars promo (limited pressing, contains remastered versions of 2 long players from the original digital release; changed for final release)

5) Falling Stars (released version)

How often is it that an artist listens at that level? As has been my mantra for some time now: support the artists and support the independent labels.

Echospace in the mailbox...

Ok, shameless plug, I admit...

But what an interesting thing this new music distribution.  Forget the majors, they can just disappear along with all the other "talent" shows on television these days.  With the exception of Marvin Gaye's 40th Anniversary deluxe deal, I can't tell you the last time I bought anything (knowingly) from a major label.

Independents are alive and well so we really need to support them or they will disappear as so many independent labels have over the years (or, worse, been bought out by a major).

Deepchord/Echospace is the one artist/label that has been a constant since sometime around 2007 with their The Coldest Season release.  I've since dove deep into their back catalogue and remain entranced and thrilled by what is there.  Been a long time since I've been so passionate about any artist...

I discovered The Coldest Season via the web.  Never would have found it any other way, not even close.  And my first listen was, of course, by a shared download.  However, since then I have probably spent 10 to 20 times (or more) the original purchase price on later (and previous) releases.

Why do I pass this story along?  Not to defend sharing files (though I do, if there is an ethic to it) but to advocate a choice, a commitment, to support the artists/labels that you dig.  It has to be a conscious choice, especially when everything is so freely available online. 

Download it, listen to it, but by all means realize the expense involved in music creation.  It's the little guy, the guy that truly loves music, that needs the support to continue, or at least supplement, the making of music. 

My daughter is a musician (went to a show of hers last night - hip-hop/rap, of all things - in a pub downtown) so I know firsthand the expense and labor involved in music creation.  It ain't cheap.  Many artists have "real" jobs to afford them the means of making music. 

So I highly value these CDs.  They came directly from the label after direct communication with people from the label who are close to the artists.  No middle man, no distribution chain, no mumbo jumbo.  You can get a feel for what the artist is really about (for better or for worse) in this way and it is perhaps the best thing about music today.  So when you give the money, you know exactly where it is going.  It is quite personal (and not in the obsessive, weird kind of way) and really cool. 

There are some really interesting stories about how the two new releases came to be and how it never would have happened in the old traditional way.  Do whatever you can to keep the feedback loop going - there are artists out there who are listening and are really in it for the music.

So here's the scoop on the albums, if interested:

DeepChord Presents Echospace – Spatialdimension (2011) - limited edition of 100

cv313 – Beyond The Clouds (2011) - limited edition of 100

cv313 – cv313 - Live - DEMF After Party In 2008 (2009) - limited edition of 300

Echospace in the mailbox...

No new music here, just a little bundle of joy to share.  Deepchord presents Echospace's The Coldest Season was one of 2007's highlights and brought the deep underground sound of Rod Modell and Stephen Hitchell into the spotlight.  They continue to turn out amazing releases.

It was originally issued as a four part series of 12" vinyl records.  A few days ago I stumbled across this find at discogs being sold "for one of the artist from Echospace, they are brand new and still sealed but from the original pressing..." 

For good measure, the CV313 "Seconds to Forever [Extended Live Version]" was tossed in.  It does not have a sticker indicating that it is one of the 200 from the limited release but it is a new digipak and still sealed and it's right from the label.

Not much gets my heart racing these days but the feeling upon opening up this package brought quite a little rush.

So, for your listening pleasure...

Coldest Season

Deepchord

Follow every possible connection to these guys you can. 

Deepchord

These came from "out there" so the bit rates vary.  If you're a purist, track down your own personal copies, especially on wax.  Maybe you already have...

Hope the New Year finds you in your bliss!

Variant - The Setting Sun (2008)

Steven Hitchell (aka Intrusion aka Soultek aka Phase90 aka 1/2 of Echospace and cv313) veers a logical progression from his usual dub tech sound and wanders more into ambient space.

Written and produced by Steven Hitchell. Recording of a late night storm captured in the early months of winter in Berlin, Germany and during a train ride to Narita Airport, Japan. All music recorded using a various range of Microphone's, Portable Beta Recorder's, Emu, Linn and sequential samplers and vintage analog equipment. All recorded onto reel to reel base tape. No computer involved.

Maintaining his trademark style of working and reworking using analog equipment and mixing in field recordings, the listener is taken on a journey deeper and deeper into space where the sound slowly builds and becomes the listener's silence.

Simply amazing. One to listen to on repeat.

This is the original EP which was released as an mp3 only file containing three tracks, one of which clocks in at over 50 minutes. It is now unavailable.

This was replaced on the CD edition by several other tracks for a different exploration of this style of sound.

Even the mp3 version available now chops the track "Falling Stars" to a little over 40 minutes.

Deleted...

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