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Monolake

Monolake were being among the most acclaimed and enduring performers to arise through the Berlin-based Basic Route/Chain Response label group, work by Moritz “Maurizio” von Oswald and house to such champions of minimalist dub-techno austerity seeing that Vainqueur, Material, and Porter Ricks. Monolake in the beginning contains Robert Henke and Gerhard Behles, but Behles departed through the early 2000s to perform Ableton, the music software program organization that both suppliers founded in 1999. For any stretch out, Henke was Monolake’s lone member, however in 2004 he was became a member of by Torsten Pröfrock, who experienced previously documented for Chain Response as Various Performers and Resilent. Regardless of the regular membership, Monolake’s output usually sat in the intersection between abstract pc music as well as the even more dance-derived techno redux of their early String Response labelmates. Behles analyzed officially at Utrecht’s Institute of Sonology (a mentioned fount of digital experimentation created in the past due ’60s by Stan Tempelaars and Gottfried Michael Koenig). Behles and Henke fulfilled at Berlin’s Complex University or college, where Behles trained and Henke was learning sound executive for film. Monolake created somewhat unintentionally, when a 1st circular of collaborative improvising in the studio room led to a small number of tracks that their 1st solitary, “Cyan,” was quickly pressed. Several follow-up produces made an appearance in 1995 and 1996, with the very best of these ultimately joining new materials around the 1997 Compact disc launch Hongkong, a significant launch both for String Reaction (it’s broadly regarded as the label’s finest) and Monolake (whose previously vinyl-only 12″ produces reached a relatively small, specialist target audience). You start with 1999’s “Delicate” 12″, nearly every Monolake launch was released through Henke’s Imbalance Pc Music label. If much less groundbreaking as the sooner produces, the albums Interstate (1999), Cinemascope (2001), Gravity (2001), Momentum (2003), Polygon Towns (2005), and Silence (2009) had been uniformly superb — brisk, lively, and steely home-listening techno at its greatest, rich with information. Behles’ output continued to be consistent well in to the 2010s with full-lengths such as for example Spirits (2012) and VLSI (2016), and a significantly higher level of 12″ produces. Furthermore to his prolific discharge plan throughout these years (he also released several solo-in-name game titles), Henke continued to be a software designer at Ableton and was also a understanding engineer at Berlin’s revered Dubplates & Understanding facility.

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