TANITH on
- Facebook: https://www.facebook.com/DJ-Tanith-10150126863765048/
- SoundCloud: https://soundcloud.com/tanith
HOW I MET THE BASS on:
- Facebook: https://www.facebook.com/howimetthebass
- Twitter: https://twitter.com/howimetthebass
- Mixcloud: https://www.mixcloud.com/HowIMetTheBass
3 QUESTIONS to TANITH:
Q) Talking about your mix: which stories are behind these tracks and what do they mean to you?
A) These tracks span the time from ca. 1981, when I discovered Electronic Music, until today, with the focus on BASS. Starting with SPK’s “Chamber Music from the album “Leichenschrei“, which was a milestone in Industrial Music then. I tried to circumnavigate the obvious hits to dig for stuff which is not so well known, but maybe even better. Every track was like an enlightenment for me, as it showed new ways to break out of a formula, may it be Industrial, Techno, Drum & Bass or Dubstep. That SPK album was my way out of Punk, Cabaret Voltaire’s “This is Entertainment" was Techno before it was invented, from 1980! That 808 State track was one of the tracks which showed me that Industrial became kind of stale and a new world is waiting there. “Exit 23“ and “The Snow (Answers come in Dreams)” are tracks by Industrial people who got into Techno and I always thought those two genres merge perfectly, if done right. Underground Resistance’s “Elimination" just fits perfectly into this sonic story, as if Techno comes back to Industrial. Randomer’s ”Bring“ is the newest track in the mix and continues the story told by Coil, UR and PWOG. The two LFO tracks are for the Bleepsphase, or english Bass in it’s early form, which then breached into UK Hardcore, Jungle, Drum & Bass, Garage, Dubstep, you name it. Thomas Krome’s track finally brought bass back into Techno, as it was leaping far behind compared to what Drum & Bass had to offer at that time. Speaking of Drum & Bass, I always admire the production standards those guys have to offer, especially in the darker corners, as can be heard by the Nasty Habit classic “Shadowboxing“, I chose the Remix as it is even more polished. Opticals “Shining“ fits perfectly and I always played then side by side. 16 Bits Remix of Noisia’s “Machinegun“ then is the perfect bridge from Drum & Bass to Dubstep as I liked it. Skream’s "Midnight Request Line" is also Dubstep, but in another manner and a perfect, peaceful closing for a set or a mix like this one, bringing back harmony.
Q) Is there still any influence to the Techno scene of today with your “Walfisch”-Revival partys?
A) I don’t think so and that’s not what they are meant for anyways. It’s just a place to celebrate those old tunes in a way that is just possible with that naivity that these track ooze. It’s just great to see young and old partying to those gems and if that affects some promoters or producers to pick up from where it came, it’s a nice sideeffect, but not intended.
Q) From the early days until 2016: do you think the spirit is still alive?
A) The sprit is still alive and kicking, but the frame where it happens has off cause changed a lot, you have all these regulations which require to get more and more professional but you can still also find spots like dark cellars and forgotten buildings where it is still like in the old days, temporary and provisionally. So the supply just widened and got bigger and off cause the „Sturm und Drang Phase" has worn of a bit in favor of professionalism in those almost 30 years since we partied in a coal celler with just a ladder downstairs. Also there’s way more people who want to be part of it, with the inevitable rubbing this causes sometimes, but in the end I think not too much changed and we should welcome change, as it would also be boring it we still had the same scene since 1988 or 1991.
