DATE: 01/06/2018
VENUE: vurt.
ENTRANCE FEE: ₩ 20 000

Since I moved to Seoul over a year ago, I’ve been fortunate enough to have had the opportunity to see sets and performances from many of my favourite DJs and producers, artists that, when I was still living in distant, isolated South Africa I could only ever have dreamed of seeing. One of the benefits of living in such a massive metropolis with such a thriving electronic music underground is that many, many artists, big or small, pass through the city, and just about every weekend I’m spoiled for choice in terms of which international acts I feel like dancing to. That being said, I’ve never been quite so excited as when I saw that Cio d’Or was scheduled to play at vurt. Nearly a decade ago, when I was young and relatively innocent and I still listened primarily to indie rock and metal music, a friend of mine gave me a copy of Cio d’Ors glorious debut album Die Faser and, well, it sounds hyperbolic but it kind of changed my life. I’d never heard music like it before, and that album kickstarted a deep and abiding passion for techno (and, later, for electronic music in general) that remains with me to this day (and is the reason I started writing this blog in the first place!). I’ve been a massive fan of hers for years, both of her production and of the many quality DJ mixes she’s released online (in my opinion her On Clouds 11 mix is one of the best techno mixes on the entire internet). So to say I was excited about getting the chance to seeing her DJ, especially getting the chance to see her DJ at my favourite club in Seoul, is a bit of an understatement.

Goldbrokat by Cio d’Or, one of the best tracks off of her debut album, Die Faser.

A native of Munich currently residing in Cologne, Cio d’Or has been active as a DJ and producer of techno music since the late ‘90s, when she began Djing at Ultraschall, a club in her Bavarian hometown considered by many to be one of the flagship institutions of the ‘90s German rave scene. Cio later went on to curate her own series of parties, Nachtwind at Wondersclub, before moving to Cologne where she began to focus her energies on producing her own music. She’s a Renaissance woman, with a background in ballet and contemporary dance, who has also dabbled in jazz, classical music, film and theatre. After a string of strong EP releases on labels like Karmarouge and Time To Express, including a few collaborations with the likes of Gabriel Ananda and Donato Dozzy, Cio d’Or released her first full-length album, Die Faser, on the Munich-based deep techno label Prologue. The album was met with critical acclaim, being hailed as an emblematic example of the hypnotic, textured, trippy style of techno referred to as “headfuck techno” or “voodoo techno” in the electronic music press. This was followed in 2015 by a second album, all in all, released on Semantica, which is perhaps Cio d’Or’s most adventurous work, a conceptually dense collection of experimental techno that shows both classical and dub influences. Cio d’Or’s production is intricate and layered, much of it sculpted from found sound collected by her on her travels through Europe and Asia, and her rich musical background is reflected in the meticulous craftsmanship of her structures and arrangements. Her DJ sets, as well, are of an exceptionally high standard, and the mixes she has produced for online platforms like Resident Advisor, mnml ssgs (RIP), and XLR8R have played a crucial role in garnering her the attention of a wider audience. Sadly, Cio d’Or has struggled in the past with bouts of acute fatigue syndrome, which has resulted in many periods of relative silence from the producer, and many cancelled events and tours. Fortunately for us, however, her health and well-being seems to be improving, enough for her to take on a small Asian tour, on which Seoul was the first stop.

As usual Suna did an excellent job of starting off the night. Listen to her podcast for Oslated here.

As usual, I got there early-ish to catch the opening set. Once again, the responsibility for the start of the night lay in the capable hands of Suna, resident DJ and arguably the heart and soul of vurt. As usual, Suna played a great set, though I wasn’t quite as into it as I usually am – I think I was just impatient for Cio to begin. She started off the evening with a murky selection of techno obscura, a fog of echo and reverb through which the bass and kick drum cruised like enemy submarines hunting each other beneath a frozen ocean. As I’ve mentioned before, I’ve enjoyed every set I’ve heard Suna play, and it’s easy to see why she’s so highly regarded within the Korean techno scene. Every set I’ve heard of hers, though, has been an opening set, so I can’t help shake the feeling I haven’t heard her play to her full potential; I’m very interested in hearing her play a prime-time or closing set, and I hope that some day I’ll get the chance to. That being said, she did a fine job of creating an atmosphere and warming up the crowd for Cio d’Or.

Cio d’Or has built quite a reputation for herself thanks to her excellent online mixes and podcasts, such as this mix for Resident Advisor.

If I had to choose a single word to sum up Cio d’Or’s set, it would be: seamless. Her transitions were so subtle and subliminal that it was impossible to tell where one track ended and another began – in fact, it didn’t feel like she was playing tracks at all, but rather like we were dancing to one long singular composition. Sounds – enchanting glimmers of melody, crystalline bursts of synth, breathy whispers and alien frequencies – would fade in and out of the mix, catch one’s attention for a brief moment only to vanish and re-appear, in a different but still recognizable form, what felt like hours later. In some ways, Cio d’Or’s music could easily have passed for an exercise in ambient techno, were it not for the absolutely ferocious drum programming that lay at the foundation of it all: boneshaking kick drums pummelled out remorseless rhythms while above them a hurricane of hi-hats, shakers, crashes and rides wove around one another like starfighters in some far-future dogfight. The net result was a pleasing sense of contrast between the energy and intensity of the percussion and cosmic serenity of the soundscape it was scaffolding. Towards the latter half of her set, Cio d’Or took things in a darker direction; nebula shimmers of synth were replaced by ominous bass drones, warm and dusty harmonies by what sounded like the buzz of swarming insects – but she still steered clear of anything that too closely resembled paint-by-the-numbers “dark techno”, which I appreciated. If anything, the clean, well-defined character of her sound, filled to the brim with crisp sonic intricacies, reminded me more of the kind of organic minimalism associated with artists like Minilogue or Dominik Eulberg than it did the postmillennial industrialism of Ostgut Ton or the trancey voodoo techno of the Italian scene.

Something else that I took notice of during Cio d’Or’s set was her interesting use of tempo and pace. There are several different approaches to tempo when it comes to techno Djing, all equally valid. Some DJs like to start slow and build up the pace, each track marginally faster than the last until eventually by the peak of the set they’re playing their fastest, most banging tracks. Others, especially if they’re playing a headline slot, like to start fast and keep it their, maintaining a pretty quick tempo throughout their set. Cio d’Or took a totally different approach, however, switching between a wide range of tempos throughout her set, so that one moment we were grooving along to a bumping 128 bpm beat, and the next things were slowed right down to a dubby, half-time crawl. It was a bold choice, and one that takes quite a bit of experience and technical skill to pull off properly, but I think Cio d’Or definitely pulled it off; I enjoyed the variety, and the slower, spacier interludes gave me a good opportunity to catch my breath and get my bearings on the floor. I lost track of the time completely during her set – always the hallmark of a good DJ, in my opinion – and so I was surprised when the time came for her to step down and let the closing DJ, Siot, take over. But I wasn’t sure if I was surprised because I thought she was ending too soon, or surprised because I thought she was ending too late. It could have been 4 am, or it could have been 8 am the next day – I really had no idea at the time. Headfuck techno, indeed.

Siot closed the night in fine style. Check out his mix for Oslated here. 

Speaking of Siot, he managed to close out the night in fine style. His was probably one of the most adventurous and out-there sets I have heard at vurt in a while. Like Cio d’Or, he managed to maintain a sense of smooth, flawless continuity between his tracks, so that once again it was very difficult to tell exactly at which point new tracks had appeared and old ones had faded away. Unlike Cio d’Or, however, he leaned less heavily on the 4/4 format, mixing in a lot of broken beats and what sounded like the ghosts of breakbeats past, all shrouded in a dense gauze of reverb – like I was listening to the faint whispers of UK jungle rave echoing from somewhere deep underneath our feet. It was a daring and effective change of pace, and off the back of this performance Siot is definitely a name I’ll be looking out for more keenly in future.

vurtnight with cio d'or

Cio d’Or and the vurt. family pose for a picture in the street outside. 

I’ll admit I had strong expectations going in to this event, and a part of me was a little nervous – it would have been hard for me to come to terms with had Cio d’Or’s set been bad, or boring, or even just mediocre. Luckily, that wasn’t the case, and her DJ set proved to be every just as evocative and moving as her albums and mixes have been for me for all these years. Once again, vurt. has pulled off an incredible evening of techno, but at this point I really am not at all surprised – high quality is what I’ve come to expect from vurt., and so far Suna, Siot and the rest of the vurt. crew have never failed to deliver.

 

Note: I know that this blog is getting a bit repetitive (I keep going to vurt.!) I want to explore more places and write about other venues, I promise – vurt. just keeps booking all my favorite artists so I feel like I can’t not go there! Hopefully the next few reviews will be a little less monotonous.

DATE: 26/05/2018
VENUE: vurt.
ENTRANCE FEE: ₩ 20 000

Those of us who like our techno on the dark and hypnotic side know that Italy’s where it’s at. The Mediterranean nation might not have quite the same fearsome reputation as Germany or the same historical significance as Detroit, but nevertheless Italy has contributed a lot to global techno, thanks to the efforts of a handful of producers – chief among them the legendary Donato Dozzy, one half of Voices From The Lake and co-founder of Rome-based label Elettronica Romana – who pioneered and continue to improve on a certain strain of idiosyncratic dance music: deep, liquid tracks that owe as much to trance as they do to techno. Though a host of producers and labels from other countries have also made music in this style, this particular niche is still dominated by Italians: Dozzy, Giorgio Gigli, Neel, Dino Sabatini, Obtane, Claudio PRC and Ness. The latter two – both hailing from the sunny island of Sardinia – produce and DJ together as The Gods Planet, and last Saturday techno fans in Seoul were blessed with the chance to see them play at vurt, supported by veteran DJ and producer Unjin.

Unjin really is a Seoul techno legend in his own right. Active in the Korean underground music scene since the late 90s, he founded the country’s first-ever techno label (ECI Korea) and has established a worldwide reputation as one of the best techno acts to come out of Korea, playing gigs at renowned techno clubs around the world, from Tresor in Berlin to Womb in Tokyo. He’s also worked with Ness before; the Sardinian contributed one of the remixes to Unjin’s Fog Machine Remix EP. For his opening set on Saturday night, Unjin treated his audience to a hazy, dreamlike stream of rolling psychedelic techno; it was danceable – his heavy dub bass and beefy kicks were more than enough to get a body moving – but for most of the set I caught myself doing more swaying than I did jamming; it was eyes-closed music, for sure. It set a good precedent for how the rest of the night was going to go, with the emphasis placed more on the deep and the delirious than on the hard and the heavy. It was easy music to get lost in, and I was surprised by how quickly the hours seemed to go by and how soon it was time for Claudio PRC to step into the booth.

 

Now, techno is, almost by definition, a darker form of dance music. This isn’t a hard and fast rule, of course – brighter, more uplifting techno certainly exists – but there is a definite trend within the genre towards the somber and the shadowy, one that has been accentuated in recent years by the boom in the “Berlin school” of basement techno. But “darkness” in techno is not a singular mood, and there are many kinds of darkness that techno can invoke. In the case of Claudio PRC, the darkness in his selections was the darkness of midnight in a tropical jungle, wrapped in thick, oppressive heat and tense with the menace of predatory animals stalking their prey through the trees. Something about the tunes he was playing – the organic whisper of percussion, the murky fog of bass, the acid synths that sounded like they were echoing out from a Funktion One stack on the ocean floor – sounded incredibly primitive and primal, as if someone had taken an uncontacted Amazonian tribe and taught them how to play analogue synthesizers. Based on this description, you’d be forgiven for thinking that he played a lot of tribal techno in his half of The Gods Planet’s performance, but honestly that wasn’t the case – there were none of the usual musical clichés of tribal tech (“ethnic” percussion, drum circle polyrhythms) going on in any of the tracks he threw into the mix. A few years ago, when this style of techno started getting more popular and receiving a lot of attention in the electronic music press, the term “voodoo techno” was thrown around a lot to describe this kind of sound, and it really seems to fit, perfectly encapsulating the bewitching soundscape conjured up by Claudio PRC that night.

Ness, when it was his turn to take control of the dancefloor, maintained a similar kind of feel and atmosphere, though he used a slightly different sound palette to do it. Whereas Claudio PRC’s half of the set leant on organic sounds and long, heady buildups and breakdowns, Ness’s selections felt more digital or mechanical, and his beats were a lot more relentless, favoring minimalist, hyper-repetitive rhythmic loops that crawled over and around each other like bees swarming over a honeycomb. The transition between the two was incredibly smooth, however, feeling more like a natural progression within a single DJ’s set than two separate artists playing back to back – the mark of a DJ duo experienced at, and comfortable with, playing together. After Ness had been playing on his own for an hour or so, Claudio PRC rejoined him in the DJ booth and the two of them began playing together, taking it in turns to select and mix in tracks, and this last joint effort was definitely the high point of the night as the two of them allowed the atmosphere of captivating darkness to lighten up a little, throwing in a few brighter sounds and getting slightly – but just slightly – more playful with their beats and rhythms. It’s been a while since I’ve had the energy and willpower to stay in a club all the way till closing – I always try and catch the last set, but tiredness generally causes me to flake out halfway through- but this time I had no trouble staying awake and dancing. Ness and Claudio PRC’s music pulled me into another world entirely, one where time and exhaustion simply ceased to exist, and all that mattered was moving to the music.

I’m only sad that relatively few people got to experience such an amazing set. vurt. was quieter on Saturday than I’ve seen it in a while; there were still people on the floor, of course, and it was far from feeling “empty”, but it was definitely under-populated that night, which is a shame because honestly with a set that good The Gods Planet deserves a sea of people from wall to wall. Hopefully this Friday’s set by Cio D’Or, another world-class purveyor of deep, dark headfuck techno, draws a bit more of a crowd.