Steffi + Martyn
Air Texture Volume VI
05 October 2018 / Air Texture
- 01 Synkro - Observatory
- 02 Appleblim - Unfound
- 03 V.I.V.E.K. - Sad Smile
- 04 Answer Code Request - Pasiris
- 05 Shed - Into Bleeps
- 06 dBridge & Lewis James - Verloren
- 07 Tracing Xircles - Kaieteur Falls
- 08 Samuel Pling - Bottomfeeder
- 09 Herron - Touching
- 10 Steffi - Between Form and Matter
- 11 Afik Naim - Louie's Beat
- 12 Mosca - Kidney Version
- 13 Stingray - Last Shift
- 14 Shed - When The Faces Went Down
- 15 Novocanemusic - Steelmill
- 16 Actress - Watercolour Challenge Part II
- 17 Mesak - Sauhu
- 18 FaltyDL - Going West
- 19 214 - Shelby
- 20 As One - The Ladder
- 21 Total Science - Cowbell
- 22 Basic Soul Unit - Light Out
- 23 Barker - Terminal
- 24 Late Night Approach - The Naus Galaxy
- 25 Martyn - Moves
- 26 KiNK - Tal Atonal
“Electronic Music is just beginning. Like all great democratized art movements perception changes the conversation – changes the outlook. 1000s of producers have emerged from every corner of the globe in the last years, adding their own culture and influences to the endless mix.
In NYC I first experienced cut up culture – turntablism, graffiti, disco, drum and bass, warehouse parties – in the late 1990s. Back then the East Village art scene, Thompson Square Park Riots, and Squat Culture were in recent memory.
Looking to a bit further into history to the downtown conceptual and minimal artists in New York City 1960/70s - you see parallels in approach and optimism to electronic music making. DIY new approaches - something from nothing (or very little) – freedom from the canvas with little restriction. In this case the canvas was the empty downtown lofts of Soho and Tribeca and the found objects of a ruined industrial neighborhood. Today, the canvas is the infinite plane of online space -- an abstract urban grid of found audio.
I think it makes electronic music a truly moral art form – one that doesn’t fit into a gallery and collector model - but most resembles nature in the aesthetics and structure - constantly refracting, shaping, and growing – with loads of room for new talent, crews, and sounds. And to dive into that deep end is pure love.”
– James Healy, Air Texture, Soho, New York City 2018.
On the Selectors
The Air Texture Series asks two Producers/ Performers to select a double CD worth of unreleased music. The only guidance is the music should not be main floor bangers, other than that we get out of the way, allowing them autonomy over their selection. This time Steffi and Martyn were asked to step up. Exciting, since as residents at Berghain/Panorama Bar - two of the most important dancefloors in the world… how would two such respected artists approach our experimental ethos.
From Steffi and Martyn
“A common thread in our friendship and collaborations is that we’ve always been enthusiastic about discovering new and old music and sharing our findings with each other. In our approach for Air Texture the aim was to reflect that joy, and compile a set of tracks by both established producers and new talent, each with their own unique interpretations of a leftfield, non linear aesthetic.
We wanted to bring together producers that occupy different places in the electronic spectrum; people we looked up to for a long time such as Total Science, As One (Kirk Degiorgio) and Stingray, but also peers and new talent, such as Herron, Actress, VIVEK, Late Night Approach, and Shed. The challenge for us was to not only bring together these producers from different genres but to make the whole thing cohesive as a listening experience. That’s what makes it an exciting comp for us and the musicians involved "
On the Design
Considered one of originators in defining revolutionary Conceptual Art, Sol Lewitt is featured in the design for AIR006. We took a quote from his important "Paragraphs on Conceptual Art" that resonates for electronic music artists today:
“The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. ... When an artist uses a multiple modular method she usually chooses a simple and readily available form. The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.” – Sol Lewitt “Paragraphs On Conceptual Art”, Art Forum 1967