Balkan Express is a 2002 effort with a driving groove which earns it its name. The track has a very clean, unprocessed quality and would probably benefit from either further post-production or just plain old loudness(!), so keep that in mind when listening.
Ego Programme is an experimental track from ’04. It combines IDM and Drum n’ Bass elements into a complex and trippy arrangement which stands alone in the Montaz/Biotic catalog.
Inspired by the sound of Squarepusher and Funckarma/Quench, the track features a variety of mangled beat chunks and even some orchestral elements, played using a (since forgotten) software application. Non-sampled beats were arranged using Native Instruments’ Battery, while the played synths were mostly played on the Access Virus B.
I’m not exactly sure why this genre wasn’t pursued more since but its something to keep in mind since I do dig it. Hope you will as well.
This just might be the biggest Dopevector release yet(!), and I’m thrilled to make it available in source format. Overtone is a remix of a track by the same name, but since I like it so much better than the original, it basically won over the title. The track was scheduled for release on the (awesome) Canadian techno label Ascend Recordings, however for one reason or another it never came out. Ascend hasn’t had a release in a few years and it appears that the label is no longer around which is too bad since I really liked its sound and have a bunch of the releases on vinyl.
In any case, Overtone remains one of my all time favorites and is likely my most satisfying production effort. What separates it in my mind is emphasis on the second beat which gives it an interesting rhythm shuffle. Rather than setting the tone of the track, the beat on this one serves the main theme and follows it closely. Obviously, the key element (preserved from the original) is the massive distorted riff, thickened by a sub level bass. These, and other synth sounds were played by a combination of the Access Virus B, and Native Instruments’ Reaktor software. Drums were played on the NI Battery drum sampler and dirtied up with the usual suspects.
(Btw, I’ll likely post the original version at some point in the future, so if you dig it do come back for more.)
The Culprit is a circa 2003, loopy, funky techno jam inspired by the sounds of Joey Beltram and DJ CZR. A few labels nearly picked this one up, but at the time I had no other productions which would make good record companions, so for that and probably other random reasons it never made it out. Its loop-based structure makes it fun to play and useful DJ tool, so I’m making it available here, in original wave format.
Almost entirely sample based (I believe the only played part was the bass) its got a retro vibe dominated by the thick, filtered groove. Have a listen and download it below.
Triage is a techno track from ’04. If my memory serves me right, the bass line was played using the sweet Imposcar synth. And since I’m a little short on time today, I’m going to leave it at that. Wave download is included. Enjoy.
I’ve always loved the unique sound and versatility of the ride cymbal. Its distinct sound can be disguised and blended into a variety of genres while remaining very common and bare. I bring this up because Sativa is a track based on a sampled beat with a driving ride cymbal which marked a new direction in my productions. Coupled with a deep bass on the other end of the spectrum, Sativa really fills up the air, with the mid range filled by a mangled percussive riff and a twisted and evolving line played through Native Instruments’ Absynth synth. To get the rich harmonic sound from a very simple melody I layered multiple takes, each processed differently. The track also makes heavy use of delay and reverb effects which add to its spaciousness.
By the way, a very close relative of Sativa is a track titled Anathema, which was released on Gotham Grooves in 2005. We’ll cover that release at some point in the future.
Rough Cut is a hard techno track with a driving motive and thick groove. What I always liked about it is that it “grew” organically, much on its own with me just adding some water, so to speak. Much of the filtering was performed live and the final mix was initially considered the rough cut, which explains the title.
Due to the fast pace of music technology and the global reach and influence of dance music, many tracks quickly become characteristic of a specific time-frame (a polite way to call them “dated”), but I’d like to think that this one spans generations. Whatever,… enough metaphors. Here it is – another exclusive, and available in WAV and MP3 formats.
Rough Cut is a hard techno track with a driving motive and thick groove. What I always liked about it is that it evolved organically, much on its own with me just adding some water, so to speak, here and there. Much of the filtering was performed live and the final mix was initially considered the rough cut, which explains the title.
Due to the fast pace of music technology and the global reach and influence of dance music, many track quickly become characteristic of a specific timeframe, but I’d like to think that this one spans “generasions”. Whatever,… enough metaphores. Here it is – another exclusive, available in MP3 and WAV.
Incognito is an old housey track. It was produced in 2002 and almost got released on New York’s Gotham Grooves label shortly after the release of Funk Matter EP (which came up a couple of months ago in this post), but I forget why it never made it out. The artwork on the left was being considered as well at the time.
Anyhow, much like Funk Matter, Incognito is a sample-based, up-tempo jam and features some nice bells in the background. Wav download is provided.
For the first time on on this blog (if my memory serves me right), I’m posting a few key samples used on a track so you can mess with them, if you’d like:
Soft Decay is a loopy track from 2002. Its got a crunchy, bit-crushed sound which inspired its title. Playing over the beat is a stretched flute sample and an occasional drum break. A more interesting component are the percussive synth hits played on the Virus B which pan around the stereo image and add to the track’s spacey feel.
Open Source has that B-side feel. Coming through are some of my early Goa/Psy-trance influences mixed with the more usual tribal techno vibe. The spacing of the heavy low-end vs. elements in the higher range works well and leaves enough room for the flyby’s in the middle.
This is another track which features a sample from the movie Event Horizon – not just because I liked that movie and the sound of it, but because it was probably the only movie I ever ripped the audio from for this purpose. (I maintain that I’m NOT a big fan of movie samples in tracks, but yeah, I know. Whatever.)
I have no clue why this track is called Open Source. Do you?