Stray Landings \ Π3.5 Premiere

The latest to merge from the nascent π Electronics roster is Damcase (real name Dimitris Damaskos). 2016 saw a bumper year for Damaskos, with three vinyl releases including one on Bas Mooy’s prolific Mord imprint and the legendary Bunker Records. Much of Damaskos’ brand of techno brings to mind the heydey of DIY bedroom electronics. Listen, for example, to the full-throttle pelt of his Bunker release. There is a clear slapdash approach to these productions. They feel as though they have been made on-the-spot and in-the-moment. Everything is simply pushed to the max: subtlety is auxiliary. This gives them an immense projection velocity; one that cannot be matched by over-considered productions.

This latest release on π is particularly nasty. Each basslines is a little snot-nosed bastard. Like some pissed-off pitbull, they snarl and bare their teeth. The release is also electrified by sharp static that snaps out in random bursts like a live wire. By the end, everything is caked in a blanket of noise, almost too harsh for the human ear. Totally anti-social, totally obnoxious and totally gripping. This is a release strongly recommended to annoy neighbours, parents and, well… basically everyone.

Listen below for an exclusive stream of ‘PI03.5’, the closing track of the EP, and the nastiest of the lot.

Stray Landings

London 2017

Interview/QA, On the Record/Techno Scene

Damcase, or Super unknown is a solo hardware live performer, whose sound ranges from Old school Acid cuts to aggressive techno to Experimental Noise. He started his journey back in his hometown, Thessaloniki, Greece, where he began producing live electronic music, and releasing his productions independently.

Once he moved to the Netherlands it didn’t take long for Damcase to begin branching out into the scene. He would go on to create his alias ‘Super Unknown’ and create a 4-track EP for the highly regarded TH Tar Hallow. When his industrial side began to show recognition, he was featured on the Mord complication, and soon after granted the opportunity to release a double EP with Mord entitled ‘Anom Valley’. Damcase has provided innovative analog tracks for the finest techno labels including Mord, Bunker Den Haag, Melodies Souterraines, without a doubt we can expect more for the Netherland based Producer.

Techno Scene

Mord regularly gives a chance to artists, if accordingly to their standard, the artists fits on the label. You were one of these guys, but not everyone in the scene will have heard of you. Can you tell us more about yourself, and your journey before you got signed to Mord?

“I was performing live or playing with records on a weekly basis back in my hometown Thessaloniki. I was also releasing music with friends most of the times D.I.Y. and in totally abstract forms(2004–2012). In 2011, one track got released on Granny Records, featured in the Wire Magazine UK-Wire Tapper 27 cd. At the same time I always wanted to see what was happening outside Greece. In 2012–2013 I went to the Hague to complete my studies at the ‘Institute of Sonology’. At the classic analogue voltage-control modular synthesis studio (Natuurkundig Laboratory 1956).

After some months I went to ‘Dystopia’. ‘Bunker Records Den Haag’ studio and event space. I thought: fuck I need to give my music to those people, they know, they will understand. Some months later I received an email saying: Bunker Records wants to release 4 tracks, tracks 1,2,3 and 8 from the first CD. They asked if I’m ok with that and if I am still in the Netherlands or went back to Greece and they send me an invitation for the upcoming Bunker/Panzerkreuz event. This is how Bunker/Panzerkreuz 4008 ‘Untitled’ by Damcase got out in the ‘4000 series’. The series with Unit Moebius, Schmerzlabor, Klankman, Legowelt and Ellis de Havilland.

Hanging around at ‘Triphouse’(Second Hand Record Store and local DJ act spot) I met Charlton. One of Rotterdam’s Raw and Industrial sound contributors. We ended Jamming for hours or sometimes even days. All this was happening when Mord just started. We went also to Mord’s label night at Maassilo-Rotterdam and gave Bas one copy of my ‘Tar Hallow’ release as ‘Super Unknown’. He played 2 tracks on his podcast for ‘Soma Records’ and since then we are in contact. He was checking my tracks and this is how the double pack 2×12’ ‘Anom Valley’ EP and the ‘Low FX to Aux’ track on the ‘MordBox 001’ 7×12 ‘ various artist compilation appeared.”

How did you get into live performances? Was it something you aspired to do or did it come naturally?

“The truth is that back in the mid-late 90’s it was complicated to present live electronics. There were not so many people with similar interests around, no YouTube channels or hardware reviews and even less access to the information. So I remember my self trying and finally after some years I made it. The point is that I am still using hardware as compositional method even at my live acts. Couple of drum machines, mixer with auxiliaries, Moog Mono synth, Roland SP404 ampler, Akai tape machine and some more. That’s what inspires me most of the times, the procedure, how everything is connected and what can I do with that. You can make an interesting piece with 2 stones and a d.i.y. contact mic but you won’t have the TR Roland sound, if that does not bother you, that’s my theory.”

Can you tell me how the creative process begins? Do you program drum machine(s) or synthesizer(s) first? Does inspiration come from an external source or is it all in the moment?

“It is always about the moment even if you are programming. I prefer not to spend so much time in editing tracks. I try to keep the natural flow of the original recording. That usually works better for me. There is no specific way of starting a track. It might be a no input little noise that gradually changes into different shapes. It could start from rhythmical parts or a polyrhythm element or sequence, there are really no rules and endless possibilities.”

What are a few pieces of gear that you couldn’t live without?

“Moog, Pearl Vintage mixer and the 1721W Akai tape Machine.”

Not that long ago, you were part of a group called “Ton”. The style of that group was pretty eclectic, ranging from electro influenced techno to menacing soundscapes, and that’s quite different to what you release now. Can you tell us in what ways you have evolved as an artist and performer throughout the years in order to develop your own sound?

“Like I said everything started in totally abstract forms. My first track that got released was some field recordings from heavy weight trucks passing next to my house, ’Backwater’ CD, various compilation I & II. Behind those releases was an Italian friend and a well known bass player in the punk scene of Thessaloniki: F. Paolo D.

‘Ton’ is the project with my music mate Haris. There is one cd release on Granny Records mastered by Jusepe Jelasi in Milan. We still got loads of recordings withHaris and we jam and record whenever we meet. You might see something coming out in the future you never know. But that release was a result of years of frustration, of trying to realize what we hear why and how, be patient and self-sufficient.”

About a year ago, you dropped an EP under your alias “Super Unknown”. Why did you decide to create another alias, while it seems the music for Super Unknown is pretty similar to the Damcase stuff?

“Super Unknown is a concept started here in Rotterdam. I came back home one night totally disappointed about the music I had to listen during all night. I turned all hardware on and recorded a live set with heavy sounds in a lower tempo, something like what I would like to hear that specific moment. I checked the results by accident some days later and it sounded like a journey with no way back. The world of ‘Super Unknown’ in a situation without hope, doesn’t matter what you do we are fucked, nothing is going to change the current situation. Solution is not there. I uploaded the whole 23 minutes live set just with a small description:

Super Unknown-Live, Live Recording by Super Unknown.’

‘There is no need for so many mid and high frequencies. Dark, Wave, Low Tempo, Raw, Hardware:ER, EFX, RT, LP, MC.’

Thanos Hana, a basic member and one of the curators of Granny Records, was already preparing his personal label ’Tar Hallow’. The ‘Super Unknown’ concept was humid, rusty and with no future at all. We changed a bit the tempo in some tracks and that was the ’Tar Hallow’ 01 EP. Klankman’s and Charlton’s came later and there is one upcoming with DimDJ TH04. “

Your debut on Mord is called “Anom Valley” and receives positive feedback from lots of people. What kind of experiences was the production of this EP? How long did you take to record this record?

“Most of the tracks were made here in Rotterdam during 2015. The artwork was made by the Swedish artist ‘Tommy Dwane’ and the ‘Hades Rowing Club’ crew, but the whole production curated by Bas Mooy. ‘Anon Valley’, yes. Some people might think anomalies or ‘’anon’ from ‘Anomos’= no law. Sometimes I care more about the sound of the words orhow they appear and not so much about the meaning.”

How did you establish a relationship with Mord?

“Meeting up with Charlton here in Rotterdam was the starting point.Gatherings in places like Strobe and warehouse ‘Mord’ nights, but the most important was to give my music to Bas.”

What future plans do you got for your Damcase project? And do you have something in mind for Super Unknown?

“ ‘Anom Valley’ and ‘Bunker 4008’ are available right now. There is also another one Various Artists EP coming from Lyon France and the new labelcalled ‘Melodies Souterainnes’, featuring my track ‘That At’. Got some more offers but I won’t release anything at the moment. People can check my solo Bunker 4 track Album, 2 of the tracks are 12–13 minutes long each and the Mord Doublepack EP. The Mord EP mastered by ‘Simon’ at the ‘Exchange Studios’ in London and the ‘Bunker 4008’ by ‘Guy Tavares’(Schmerzlabor) him self at Dystopia in the Hague and there will be, if so, more ‘damcase’ releases in the near future.”

Damcase is happy to announce that he has recently joined ‘Pakt Booking’, an agency who provides services for Ansome, Bas Mooy, Defekt, Giorgio Gigl, UVB and Yan Cook — just to name a few. After a successful release, Damcase has been traveling through Europe playing many show including; The Basis Club in Urecht, Netherlands — Decadance in Ghent, Belgium, and Nuits Fauves in Paris, France. You can check out Damcase at these upcoming gigs: The Annual Bunker/Dsytopia Event which is scheduled for August in Hague, Netherlands, also at the Mord/Strobe Event in September in Rotterdam, Netherlands.

By Kirk Gonzalez

Techno is machine-made music. But to get sounds of these machines, there’s the necessity of human input. This kind of unavoidable element gets us to the point of these series of articles. On The Record will deliver you articles of various kinds like interviews, event reports and more.. always with the involvement of at least one artist to get an idea of what’s going around in the current business of techno. On The Record files insights, pieces of music and whatnot, to broaden and idea on techno.

 On The Record / Techno Shene

Anom Valley/RA Review

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The Greek artist’s “Low FX To Aux” was among Herdersmat‘s highlights for simply being a bit weirder than the rest. It fidgeted relentlessly and scuttled about like a spider. It came from acid but kept those sounds locked away, allowing the deviant machinist experimentation to take centre stage. With Anom Valley…

Resident Advisor

Published 27 April 2016 written by:

Holy Dicker

Juno Plus, Bunker Panzerkreuz to release EPs in May

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Damcase and Shitcluster stoke the fires of The Hague’s most trusted labels.

It’s been over 12 months since Bunker Records last released music, with the enigmatic Guy Tavares surfacing in 2014 under the Schmerzlabor name with two Juggernaut 12″s which sounded like Evol’s Proper Headshrinker beaten up by a bunch of squat ravers. Panzerkreuz on the other hand has remained a steady source of underrated lo-fi techno transmissions with Helena Hauff, Ekman and Legowelt releasing records in recent years alongside Andreas Gehm’s Elec Pt1 alias and label faithfuls Ian Martin and Sparkwave, among others.

Come early May both labels will forge their way further into 2016 with a double drop of cruddy industrial funk with Unit Moebius’s Jan Duivenvoorden resurrecting the enigmatic Shitcluster project with Charlie Watkins, while Greek act Dimitris Damaskos is given his Bunker Records debut.

Damcase’s untitled four-track debut sees the producer edge himself further into the spotlight following a recent EP on Rotterdam’s MORD label with a selection of .. ..

Juno Plus

Bunker Records 

Mordbox 001 RA Review

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The package comprises 28 tracks of peak-time bangers assembled with little else in mind than tearing up the floor. There are no hierarchies here. Newcomers like Miro Lopasso and 3.14 nestle up with regulars Radial, UVB, Endlec, W.I.R.E., Ansome, Charlton, Lag and Mooy himself. Also enlisted were rising talents not associated with the label, like Damcase, Clouds, Sunil Sharpe and Eomac, alongside better-known names such as Oscar Mulero, Sleeparchive ..

Resident Advisor 

by Holly Dicker

 

 

 

 

Kosmos Panzerkreuz live set&interview

Laissez vous attirer par l’obscurité du Køsmos et découvrez un monde insolite où l’espace temps est figé, régie par des règles qui dépassent notre imagination la plus débridée.

Mes deux Køsmonautes…

Kosmos

Podcast 065 Damcase

 

Interview:

 

-what is your producing set up ?

Experimenting with sound is an endless journey. I started buying cheap or secondhand equipment back in the mid 90’s in Greece – some Yamaha and Korg stuff, my first drum machine later, some DIY oscillators and more. Over the years, I focused more into my recording setup, so ye Dynaudio speakers, MOTU and TC Electronics interface with ‘Logic’ came later. Then I got an MC- 909 from a Greek surf rock band around 2010, a Moog Little Phatty from a German-Greek guy who stopped making music, and I also have an AKAI Reel to Reel tape machine, a Soundcraft mixer, different kind of pedals, and a Roland 404 sampler.

-how can you describe your own style ?

Free style process. I don’t like following a certain style or genre rules. It might be rough, smooth, eccentric or monotonous, sometimes mix of analogue sequences, field recordings, drones or just tracks with saturated drum kits with no input and feedback techniques.

-you’ve released one track on the big project called mordbox , can you tell us more about your collaboration with bas mooy and the label ?

Working with Bas Mooy is a great experience for me and I am learning a lot from our collaboration. My track ‘Low fx to Aux’ is out on the same record MordBox 001/ Part 2 with a Sleeparchive, Uvb and Bas Mooy. Great compilation tracks by some really famous and some underground artists. That makes me feel excited and focus more into what am doing.

-what do you think about the netherland techno scene with rising city such as rotterdam ?

There is a whole tradition here in the Netherlands about electronic music. I guess it is good to mention the Philips Lab (1956 Philips Natural Sciences (Natuurkundig) Laboratory), one of the first classic analogue voltage-control modular synthesis studios of the world, which you can still find in The Hague (Studio BEA5: The apparatus ranges from analogue filters from the 1950s and 1960s to recently designed and built voltage-control modules).

There is something unique here, especially in the West coast scene . Den Haag and Rotterdam are close by, vibes are a bit different. We need both I can say. The neo elusian acid planet crew called Bunker/Panzerkreuz Record Label in den Haag, which started in the early 90’s, shows the right way. Bunker Records as usual brings Neo-Alpha wave light to the world, still releasing  records and throwing some of the most underground Strobo – gus chamber Ritual events 2-3 times only per year.

Live acts, poetry-rituals, and lots of acid at the Hague’s saturnian temple of ‘Dystopia’ (Bunker Records catacombs).

Mord Records and this fresh banging techno approach creates the right environment and brings more young people closer to the origins and fundamental values of Rotterdam’s machine futuristic harbour sound. WareHouse techno parties, which go around since 1996 in various locations in Rotterdam’s industrial area, started originally as Audio Assault Records. So ye, Rotterdam just keeps the tradition of the real gabber but still goes to the next level, and this level is dark, humid and rusty. Self – Power spaceship that doesn’t need our poor humanistic thought anymore.

-what is your track of the moment ?

the file I ‘ve just send to you

-some words about your next releases and projects ?

Bunker/Panzerkreuz and Mord Records.

Igloo Magazine / TH Review

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The Netherlands does electronics well. In spite of its size Holland is a heartland of machine music. Clone. Bunker. Crème Organization. Viewlexx. Bordello A Parigi. And the list goes on. From this fecund ground comes a new imprint, TH ± Tar Hallow.

The Rotterdam label, founded by Thano Papadopoulos, notes the above labels as having “definitely been influential.” And it’s understandable. The largest port in Europe is a music hub. “Buying records from Triple Vision and Clone is a routine” adds Papadopoulos as I quiz him on his hometown.

And The Netherlands is the fount for the opening pair of releases. Dimitris Damaskos, hails from Greece but calls Holland home. His name might perk an ear amongst some, with recent remixes on Lower Part for Andreas Gehm, as Damcase, and DJ Stingray in his partnership as Ton. For TH ± Damaskos is debuting a new moniker, Super Unknown, and cute and cuddly it ain’t. Beats are boiled, drowned in distortion before being thrown in your face. Raw and unrefined the four tracker courses with a primitive energy. Gurgling analogue squawk is a bitter side dish to the thump. “Super Unknown Pt. 1” is the flip of the EP, a menacing lowly piece of strained ambience. “Transistor Line” stalks the shadows in similar fashion. The other end of the 12” are warped audio tortures. Spite poured atop scorn. Bruising techno bludgeons hammering from a height.

The follow up comes from Den Haag denizen Maarten Epskamp. Better known as Bunker Records malcontent Klankman TH02 marks his second excursion on wax. The aggression that inaugurated his first outing hasn’t subsided. This fetid stuff. Punishing percussion, barbed claps and acid lines scorched into skin. Tracks like “Rashond” will do permanent speaker damage, basslines battering all. “Draaikolk” is a little less fierce but no less profane. Toxic twists of 303 blur rhythms, you can almost hear dancefloors buckle. This is techno that should be caged, techno that abuses and assaults before ripping to shreds.”Spookhuis” is the final blow to the back of the head. Rumbling chords ghost as tensions build for an intense end.

TH ± Tar Hallow is continuing down the path laid by the likes of Unit Moebius and Guy Travers. It’s treading the boards laid by Jamal Moss and industrial acts like Esplendor Geometrico. This is a label exploring bold new talent and giving a platform to sinister sounds. That trail is being further paved with a new 12″ about to be dropped by Charlton with label boss Thano serving up a devilish remix. Definitely a label to keep an ear on, though be careful of tinnitus.

Igloo Magazine

Tar Hallow