TekkNOthing I & II
When SW. AKA, Stefan Wust, first established SUED in 2011, their compelling, cosmic and anonymous material struck a rare chord, emanating far beyond the freeform Berlin underground in which it was written. Unknowingly, Los Angelean Oliver Bristow had established a parallel musical universe, founding the hyper-specific label Acid Test, inviting pioneering artists such as Donato Dozzy, Tin Man and Pepe Bradock to indulge in glorious interpretations of 303 control. Without compromise, these were records that quietly reinvigorated electronic music. Some years later, a new label, SWOB, unites Wust and Bristow in a very different landscape. And while it would be easy to transform the purity and integrity of this special alchemy into something like nostalgia, yearning for an alternative culture before influencers and against algorithms, SWOB endeavours to find inspiration in arguably tougher truths. âBy the mid-90s, the techno scene had already reached a breaking pointâ, recalls Wust. âToday, the scene is so highly professionalized that it barely resembles what was once called the "underground. But "underground" was never more than the simple reality that music circulated on cassettes among friends or that dubplates were played at illegal parties... The consequence of todayâs professionalization is the death of the original movement.â Still, no one can kill an idea. Here, inspired by the âOutside Teknoâ or âOutkast Technoâ that emerged to subvert even back in the day, SWOB are proud to introduce the tekkNOthing trilogy, a new project from SW. beginning on cassette and culminating later on vinyl. Some years in development, tekkNOthing first began to take shape during the 2020 global pandemic, when âthe undergroundâ quickly began to mean something radically different once again. If not in competition, than taking inspiration from this landscape of new opportunity, tekkNOthing diversifies further with eight unpredictable tracks across part II, taking in stuttering machine-funk on âcrAMPDUNKâ, a freeform organ jam via âsonicENdoâ and the inexplicable piston-percussive, post-punk exotica heard on âpoorTENOOR#a#01â DJs with dual cassette decks skills might even find function in the more overtly floor-focused âDU ÌNEhowSE#1takeĂâ or âlookLOOKâ.
TekkNOthing I & II
When SW. AKA, Stefan Wust, first established SUED in 2011, their compelling, cosmic and anonymous material struck a rare chord, emanating far beyond the freeform Berlin underground in which it was written. Unknowingly, Los Angelean Oliver Bristow had established a parallel musical universe, founding the hyper-specific label Acid Test, inviting pioneering artists such as Donato Dozzy, Tin Man and Pepe Bradock to indulge in glorious interpretations of 303 control. Without compromise, these were records that quietly reinvigorated electronic music. Some years later, a new label, SWOB, unites Wust and Bristow in a very different landscape. And while it would be easy to transform the purity and integrity of this special alchemy into something like nostalgia, yearning for an alternative culture before influencers and against algorithms, SWOB endeavours to find inspiration in arguably tougher truths. âBy the mid-90s, the techno scene had already reached a breaking pointâ, recalls Wust. âToday, the scene is so highly professionalized that it barely resembles what was once called the "underground. But "underground" was never more than the simple reality that music circulated on cassettes among friends or that dubplates were played at illegal parties... The consequence of todayâs professionalization is the death of the original movement.â Still, no one can kill an idea. Here, inspired by the âOutside Teknoâ or âOutkast Technoâ that emerged to subvert even back in the day, SWOB are proud to introduce the tekkNOthing trilogy, a new project from SW. beginning on cassette and culminating later on vinyl. Some years in development, tekkNOthing first began to take shape during the 2020 global pandemic, when âthe undergroundâ quickly began to mean something radically different once again. If not in competition, than taking inspiration from this landscape of new opportunity, tekkNOthing diversifies further with eight unpredictable tracks across part II, taking in stuttering machine-funk on âcrAMPDUNKâ, a freeform organ jam via âsonicENdoâ and the inexplicable piston-percussive, post-punk exotica heard on âpoorTENOOR#a#01â DJs with dual cassette decks skills might even find function in the more overtly floor-focused âDU ÌNEhowSE#1takeĂâ or âlookLOOKâ.
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When SW. AKA, Stefan Wust, first established SUED in 2011, their compelling, cosmic and anonymous material struck a rare chord, emanating far beyond the freeform Berlin underground in which it was written. Unknowingly, Los Angelean Oliver Bristow had established a parallel musical universe, founding the hyper-specific label Acid Test, inviting pioneering artists such as Donato Dozzy, Tin Man and Pepe Bradock to indulge in glorious interpretations of 303 control. Without compromise, these were records that quietly reinvigorated electronic music. Some years later, a new label, SWOB, unites Wust and Bristow in a very different landscape. And while it would be easy to transform the purity and integrity of this special alchemy into something like nostalgia, yearning for an alternative culture before influencers and against algorithms, SWOB endeavours to find inspiration in arguably tougher truths. âBy the mid-90s, the techno scene had already reached a breaking pointâ, recalls Wust. âToday, the scene is so highly professionalized that it barely resembles what was once called the "underground. But "underground" was never more than the simple reality that music circulated on cassettes among friends or that dubplates were played at illegal parties... The consequence of todayâs professionalization is the death of the original movement.â Still, no one can kill an idea. Here, inspired by the âOutside Teknoâ or âOutkast Technoâ that emerged to subvert even back in the day, SWOB are proud to introduce the tekkNOthing trilogy, a new project from SW. beginning on cassette and culminating later on vinyl. Some years in development, tekkNOthing first began to take shape during the 2020 global pandemic, when âthe undergroundâ quickly began to mean something radically different once again. If not in competition, than taking inspiration from this landscape of new opportunity, tekkNOthing diversifies further with eight unpredictable tracks across part II, taking in stuttering machine-funk on âcrAMPDUNKâ, a freeform organ jam via âsonicENdoâ and the inexplicable piston-percussive, post-punk exotica heard on âpoorTENOOR#a#01â DJs with dual cassette decks skills might even find function in the more overtly floor-focused âDU ÌNEhowSE#1takeĂâ or âlookLOOKâ.
