Ten years is a long time in the world of electronic music. Scenes and trends change at an incredible pace, and that change is even further accelerated by the hyper-activity and shortened attention spans of the internet age. Over the last decade hundreds, if not thousands, of artists and labels have emerged, seen their stars rise in popularity and prestige, and then faded into obscurity again; victims of an often ruthless music culture where audiences are constantly on the search for something new. The fact that ECI Korea has been around since 2008, then, is a pretty impressive achievement, and speaks to the hard work, dedication and, of course, talent of all the people involved – in particular label founder Unjin, a true stalwart of the Korean techno scene. Unjin has been one of the most instrumental figures in the growth and development of techno music on the Korean peninsula, both as a DJ/producer and as a label manager and party organiser; it’s not an over-exaggeration to say that without Unjin, the Korean techno scene would probably be nowhere near as healthy as it is today. Nor is his influence, and the influence of ECI Korea, limited only to Korea – the label has become a platform for artists from all over Asia, allowing them global reach and facilitating connections and collaborations both within the broader Asian techno scene and between techno scenes in Asia and Europe. It’s fitting, then, that the 10 Years of ECI Korea compilation released to celebrate this milestone in the label’s history features a broad range of artists – from Korea, from elsewhere in Asia, and from other countries around the world. The variety of producers featured on the album serves as a representation of the wide variety of artists who have worked with ECI Korea over the past decade.
The compilation opens with ‘Fascination X’ by Mojave, a swirling, epic ambient track whose crystalline synth-work is reminiscent of Vangelis. It has a sense of cosmic depth to it, but deep within the track’s nebulous clouds of sound there is a feeling of unease, a sense of distant menace that hints at the darkness to come. The next track, “Falling Out” by Shanghai-based artist MIIIA, begins with a haltering, staggering beat and deep, sonar-like bleeps that gradually resolve themselves into a ritualistic rhythm while hisses of static and bursts of noise lend the track an air of controlled chaos. Around the halfway mark the introduction of some shakers transforms the track into something a little vibier, but it never loses its downcast, eyes-down atmosphere. The third tune on the compilation, ‘Space Explorer’ by Italian producer Gennaro Mastrantonio, puts me in mind of the cosmic techno of Samuli Kemppi. It’s a meditative piece of loop-based techno that showcases Mastrantonio’s keen understanding of progression in dance music. Deep and mesmerising though it may be, the thick grittiness of the track’s bassline keeps ‘Space Explorer’ firmly anchored to the dancefloor.
The next track, ‘an-i-o-bi-o-ics’ by Taiwanese producer Jing, is notably darker and more aggressive than the three tracks preceding it. Thunderous percussion, cyberpunk-sounding pads and staccato synth riffs give off a kind of “future industrial” sort of feel. It’s a brief track, clocking in at just four minutes and twenty-one seconds. The following tune, ‘Weinfelden’ by Romi, proceeds to take things in a spacier, more introspective direction again. Romi, a Hong Kong based producer and frequent collaborator with Oslated, contributes what is easily one of the best tracks on the entire compilation here. Although each sound he puts to use here is distinctly artificial and machine-like, the overall impression given by the track reminded me of birdsong, or the hushed noise of a dark forest at midnight, warm and organic. He piles on a dizzying array of elements in the track, and yet it never feels overly busy or cluttered – each individual sonic element has its own carefully carved-out space in the mix.
Track six, ‘Cogito’ by HWA (aka Elvis T), is by contrast one of the weakest tunes on the compilation in my opinion. The ceaseless beeps that crowd its high-end become obnoxious after the first minute of listening, and the bass, while well processed, is too in your face and unsubtle for my taste. The seventh track, ‘Lights From The Pleiades’ by Dorian Gray, another Italian producer, is a good tune, but at the same time a frustrating one. A deceptively complex bass rumble (when I listened carefully I realised there was a lot going on in that low-end) propels the track forward, while the “light” in the title comes from the ghostly shimmer of synth drifting like smoke over the bassline, gradually coalescing into something that resembles a choir of ethereal voices. It’s masterfully produced, but too short; the track feels like the buildup to something potentially spectacular, but just as I was getting properly into it, it ended.
I was excited to listen to track eight, ‘Resplendent’ by Xanexx. Xanexx is one of my favorite Korean DJs by far, to the point where I’ve gone out a few times this year with the specific aim of catching a Xanexx set. His DJing is always transcendentally good, a searing, visceral sonic assault on the dancefloor, and I was very interested in hearing what his production sounded like. Fortunately, he didn’t disappoint. ‘Resplendent’ reminded me a little of the work of Shanghai-based producer Tzusing at first, featuring broken drum rhythms surrounded by a crawling and slithering mass of acid synth, but as the track goes on the brutality of the drum-work is offset by glowing pads that would have sounded almost angelic if heard in isolation, a sensation of light that grows more and more pronounced until by the end the track is more ethereal than it is aggressive.
The ninth track, ‘Avia’ by UK-born producer Deepbass, sounds to me as if Deepbass was trying to invoke the nostalgic sound of 90s anthem trance, but filtered through a much darker contemporary lens. Insistent, endlessly repeating synth rhythms and helicopter blade bass drive the track forward as the percussion breaks against them like waves crashing on some distant and ancient beach. ‘Avia’ is followed by ‘Control’ by DJ Sodeyama. The Japanese producer is arguably one of the biggest names on the compilation, and his track is definitely one of its standout moments. A powerful kick drum sits front and centre holding everything together while the occult electronics that hiss and sputter and shriek around it menace the listener from the shadows, a host of alien noises that feel somehow alive, as if the synthesizers themselves have somehow gained sentience. From a DJs perspective I think this is probably one of the most interesting tracks on offer here – I can imagine it absolutely devastating dancefloors if mixed right.
The penultimate track, ‘Vann’ by Astronomy Domine, is one of the most abstract tunes on offer here. The Sardinian producer first assembles a complex mosaic of found sound and natural noises – rising wind, birdsong, snapping twigs, clinking metal, the splash of raindrops, the crunch of gravel, and about a dozen others I couldn’t even begin to identify – and then takes a dub techno bassline to it like a sledgehammer, smashing the soundscape into fragments that are gradually drowned out by splashes of echo-laden percussion and the occasional slab of gnarled synthetic noise. It leads into the final track on the compilation, ‘Obscured Facts’ by Scøpe. Here Scøpe, who runs the SCOPÁVIK label and podcast and the SCOPÁVIK club nights at vurt., immediately grabs the listeners attention with an infectious combination of growling bassline and syncopated kick drum thud. They’re soon joined by some of the crispest, sharpest hats I’ve ever heard and more undulating pads that once again feel reminiscent of a choir of voices, giving the whole track a kind of gothic ambience. Around the halfway mark the track is overwhelmed by what sounds like a swarm of cybernetic insects, which then begins to degrade and deform, dragging ‘Obscured Facts’ down with it into a spiralling vortex of hypnotic sound.
Though it falls flat a couple of times, as an overall listening experience 10 Years of ECI Korea is a fitting tribute to a fine label. Each producer in the collection brings something slightly different to the table, and the blend of ambient or abstract tunes and club-orientated body music cuts means that there’s a little bit of something for everyone here, from home listening techno heads to DJs looking for more secret weapons to get people grooving. Personally, I’m really looking forward to hearing these tunes out on Seoul’s dancefloors over the next few months – and to hopefully another decade (or more!) of quality techno from ECI Korea.
10 Years of ECI Korea is available for purchase at ECI Korea’s Bandcamp page.