deathboy | self indulgent techno roots (Reply)

While sifting my horribly huge oldskool collection, I came upon this track, which I immediately identified with and grinned like mad.

Being OLD NOW, I've become used to the weird idea of having to explain to someone why a rave track is so fucking excellent.

When the explanation is demanded by someone who listens to the Artic Kaiser Blunt Chefs without irony, I realise that I have finally become old.

It's certainly made me question why, with the massive breadth and depth of music that I have experienced in my life, this track and its ilk still make me smile.

The snappiest summation I can come up with is along the lines of that of Disaster Area:

Disaster Area, a plutonium rock band from the Gagrakacka Mind Zones, are generally held to be not only the loudest rock band in the history of the Galaxy, but the loudest noise of any kind at all.

Regular concert-goers judge that the best sound balance is usually to be heard from within large concrete bunkers some thirty-seven miles from the stage, whilst the musicians themselves play their instruments by remote control from within a heavily insulated spaceship which stays in orbit around the planet or more frequently around a completely different planet.

Many worlds have now banned their act altogether, sometimes for artistic reasons, but most commonly because the band’s PA system contravenes local strategic arms limitation treaties.

Rave music hypnotises and blots out my conscious mind in the most satisfying way that I've found without using drugs.

Since I was a kid, well before I had a complex sense of mind and prior to my numerous and brutal experiments with drugs, I knew that it felt better than anything around to be able to 'trance out' to music, to stop the constant track of my conscious mind, blot it out with kick drums and acid-lines.

The turmoil and multi-chordic sample-based musical horror that causes some to vomit is like delicate wind-chimes to me. Genuinely. It makes me happy :)

That said, the most wonderful, hypnotic track of all tracks is, for me, Caspar Pound's Pioneers of the Warped Groove.

It is my quintessential techno, deep house, chill out and rave track, all rolled into one.

Written by a relative of Ezra Pound who is sadly dead now, Caspar Pound formed Rising High Records, who will make any good raver's eyes pop as their mental DJ spins up a legacy of techno and chill-out that spun in back rooms before we had the comforts of the ambient hutch.

Pioneers of the Warped Groove is my perfect track. It has samples from the Exorcist ("Let us pray", "In time. In time."), Blue Velvet ("You wanna go for a ride?" "No thanks" "No thanks, what does that mean?") and the Jungle Book ("Slowly and surely, your senses will cease... to resist")

It has a hypnotic, non-4/4 repeating acid line. It has breakdowns and swells. Strings to haunt you and the most iconic disconnected, disembodied samples, to throw your head into a throbbing, introspective smoke-strobing hypnosis.

When I die, I want to loop for ever in a universe filled with this track, pulsing and bending to the kick drum.