On November 7, 2024, my debut album as Kometenschmidt was released. That was like half a year ago, and I’m only now writing about it. Funny enough, I’ve had plenty of spare time recently, but perhaps I needed to let it all sink in.

When I was younger, I claimed to dislike hip-hop. Truthfully, I’ve liked the music since watching Beat Street. But growing up in the 1990s, my tastes gravitated toward techno and electronic music. Growing up in a small village and going to school in a quiet town in Germany, I had no connection to the ‘thug life’ or the crime-filled stories told in rap songs. My classmates didn’t either, but they still carried themselves with a ‘too-cool-for-everything’ attitude, mimicking the hustler persona. It felt out of place to me, so I never fully connected with hip-hop culture back then. Hip-hop became background noise—always there, but never something I really engaged with.

That changed when I started university in the late ’90s. I moved into a student residence and into the new age of the internet. My desk was crammed with two Technics 1210 turntables, a Numark DJ mixer, speakers, and the bulky CRT monitor of my computer. There was no space for books or study materials, but I didn’t mind. My dorm admin installed a network card in my computer, and for just 25 Deutsche Marks a year, I had constant internet access at a blazing 1Mbit/s. Napster, the DJs at our student club, and my music-obsessed friends opened doors to decades of music I’d never fully explored—hip-hop included.

Over the years, I experimented with making all kinds of music, losing my focus on electronic music but discovering new worlds. While some of my friends found success by sticking to one style, I wandered. I began creating hip-hop beats and instrumentals, though I always felt they lacked something: great rapped lyrics.

Fast-forward to my 40s, when I finally released my first hip-hop EP. Without a rapping counterpart, I focused on instrumental hip-hop, still longing to make “the real stuff.” That’s when I stumbled upon Looperman, a site offering free acapellas and samples. It was fun to experiment, and though the quality of most samples was mediocre, one connection stood out. A rapper whose acapellas I’d used reached out to collaborate. We planned to make a full album together.

But as John Lennon famously said, “Life is what happens to you while you’re busy making other plans.” Life pulled us in different directions, and our album stalled. I was frustrated and eager to finish, but John (the rapper, not Lennon) was busy. Then, earlier this year, a friend introduced me to AI tools for music production. I was blown away. Suddenly, I had access to unlimited, high-quality samples without worrying about copyright issues. It felt like a dream come true.

This new creative boost helped me complete the album by May. I wanted to release it immediately, but I waited for John’s feedback on his contributions—he’d written and rapped lyrics for half the tracks. His response was bittersweet: he liked the album but wanted to re-record some parts. So, I waited again. Meanwhile, I fine-tuned the details and polished the mastering. By September, it was finally ready to upload, and on November 7, it went live across all audio platforms.

The journey to this album was long, but every step felt worthwhile. While I’m taking a short break now, I’m not stopping here.

The album is called Kalsarikännit, a Finnish word that means “getting drunk at home alone in your underwear with no intention of leaving the house.” The name came to me during the COVID-19 pandemic, but given how the world is heading, it feels like a solid plan for 2025.

I’m deeply grateful to John and all the other artists who contributed to this album. Without AI, this project would have turned out very differently. AI tools helped me generate samples, write and rap lyrics (like the track Love Is Stronger Than Hate), and mix and master the songs.

After 30 years of making music, I haven’t become a hip-hopper. But I’ve stayed curious—and that’s what keeps me going.

“The Old Record Store” is a melancholic tribute to the good old record store. Back in the day, I spent pretty much every cent of my allowance in these stores and would spend hours there, listening through albums and discovering new music. After a few visits, the people in the store got to know me and my taste. They’d reach into a section with the latest relevant releases. Almost reverently, every vinyl was placed on the turntable, and with curiosity, you’d strap on the headphones. Like treasures, the records were carefully taken home to be played over and over again. John, also known as BrainDED from Minnesota, had similar experiences in his youth and captured his memories in a few lines of lyrics that he raps over the beat. Enjoy this first glimpse of the album, and if you like it, get excited for November 7, 2024.

Tracklist:

1. Easy Rider Campfire Scene
2. Feist & Ben Gibbard – Train Song
3. Kina Grannis – Colorblind (Counting Crows Cover)
4. Flora Cash – Zombie (The Cranberries Cover)
5. Tom Speight & Lydia Clowes – Save Tonight (Eagle Eye Cherry Cover)
6. Hayden – I Need My Girl (The National Cover)
7. Raye Zaregosa – In The River
8. JT & Andrew – White People For Peace (Against me cover)
9. RelativelyComplete – The Violence (Rise Against Cover)
10. Mumford & Sons – The Boxer (Simon & Garfunkel Cover)
11. Asaf Avidan – Maybe You Are
12. Billy Clyro – Umbrella (Rhianna Cover)
13. Travis – Baby, One More Time (Britney Spears Cover)
14. Editors – An End Has A Start (MTV Acoustic)
15. Erica Sewell – Furr (Blitzen Trapper Cover)
16. Glen Hodgson – An Honest Mistake (The Bravery Cover)
17. Christina Vale – New Slang (The Shins Cover)
18. José Gonzales – Heartbeats
19. Post Malone – Feeling Whitney
20. Portugal. The Man – Created
21. Flora Cash – I’m Tired
22. Aaliya – Runaway
23. Oasis – Talk Tonight (Acoustic)
24. Slow Club – Never Look Back

Shortly after writing about my friend Jan’s DJ mix series “Alternative Elevator Music”, he contacted me, and asked for a guest mix for his variFocast series, and I didn’t have to think long about it. Neither about whether I would do it (of course!) nor about what I would include (see common ground). Today is the day: Jan posted the mix early this morning, and that’s exactly where it belongs: in the early morning hours of autumn. Enjoy it!

Back in the ’90s, a sitcom called That ’70s Show appeared on TV screens worldwide. At that time, I didn’t watch the show regularly, but rather sporadically. I found it amusing, yet not entirely convincing. It wasn’t until the 2000s that I eventually started watching the show in English, and it was so much better than in German. Don’t get me wrong—the German voice actors usually do an outstanding job, but when it comes to sitcoms, where there are plenty of puns and wordplay, it’s difficult to find suitable translations. I loved the first few seasons, but I’m not sure if I even finished the last one. The quality dropped over time. However, a funny constant throughout the seasons was Red and Kitty. Also, the ’90s were the golden age of sitcoms, and over time, I grew to become a fan of the show.

I was really skeptical when Netflix announced a sequel set in the ’90s, logically named That ’90s Show. Of course, the first episode brought back the familiar faces from the original show to get it off to a good start. That helped a lot in warming up to the new characters. However, there was no long transition from old to new, and the new cast had to prove they could carry the legacy on their own and evolve into something fresh. After watching the 10 episodes of the first season, I wasn’t entirely convinced, but I was curious to see how the story would continue.

So, I was happy when the second and third seasons were announced, with 8 episodes each. Although That ’90s Show will never reach the quality of That ’70s Show, it manages to create its own world, which I can relate to as a ’90s kid. I wonder if ’70s kids felt the same way about That ’70s Show in the ’90s?

Red and Kitty still have their spirit, but of course, the actors have aged—going from old to even older. It’s been almost 20 years between the last episode of the original and the first episode of the sequel. As a fan of the original show, I struggle with the new cast, but I think that’s for two reasons:

1. The new cast is young, as all the characters are meant to be teenagers. Maybe I’m just too old to relate to the “dumbasses,” as Red would say.
2. The new cast isn’t just targeting people like me; it also has to reach a younger audience, which I’m no longer part of.

Nevertheless, That ’90s Show isn’t a must-watch, but rather a nice-to-watch. The 20-minute episodes are easy-to-digest, entertaining snacks. If you liked That ’70s Show and are a ’90s kid like me, you might enjoy this one too.

Every time you change employers—and trust me, I did that a lot—you end up taking some people with you as friends. I even met my wife at that job , and I am truly grateful for that. Then there’s Jan, who worked as a graphic designer and art director. When I get to know people, I like to talk about music. I want to know what kind of music other people are listening to. Sometimes I discover artists and styles I’ve never heard of before. And sometimes, we share the same taste, which gives us even more to talk about. I spent hours talking about music with Jan, and still today, I really enjoy those conversations with him.

Jan Madera has one of the finest tastes in electronic music, and I’m always happy when he releases a new mix. It can be House, Techno, Drum & Bass, Ambient, or Electronica. His mix series, “Alternative Elevator Music,” has grown to an impressive 20 mixes over the last few years, and I’ve been a fan since the first one. To me, it’s the perfect music to listen to while I need to work with concentration and focus. I’m always surprised by how quickly an hour can fly by.

Jan has such a good sense for the mood of a track and the transitions it needs to create a tense and dynamic mix. Like Bob Ross, he seems to create happy little accidents that result in timeless masterpieces. I like most of the mixes Jan makes, but this series undoubtedly captivates me the most. And besides his understanding and knowledge of music, Jan is truly a good guy.

I don’t know what my grandparents did wrong in their past to deserve such cruel karma, but apparently, I’ve inherited their genetic legacy. Lucky me.

My 85 years old grandmother died today, August 18, 2024, peacefully in her sleep. Every year during Christmas, she made Christstollen for each of her children and grandchildren. Despite not being a big fan of Christstollen, I would take one with me every year to share with my friends. But as my grandfather’s death loomed, the good cheer of Christmas began to fade. In recent years, as my grandmother’s mind deteriorated, so too did the Christmas traditions. I was pulled into adulthood, forced to watch Christmas die along with my grandparents. But now it‘s up to me to revive the Christmas spirit I learned from my grandparents to pass it on to my children and maybe grandchildren. I always loved Christmas as a kid, and my kids shall love it the same way.

But despite the sadness I feel right now, I also feel a sense of peace. She didn’t suffer, and the struggle is over. Maybe she’s with my grandpa again now. That’s something I want to believe.

I love you, Grandma. Thank you for everything. I’m grateful to have had 45 years of my life with you. I know this was a gift, and I appreciate it. May you rest in peace now and have a safe journey to wherever you go.

This is more of a general review of the show because Season 4 only ties up loose ends. I really wanted to like Season 4 and The Umbrella Academy in general, but it’s really challenging to do so. When the first season came out, I knew it was a comic adaptation, but that was it. The showrunners did a good job pulling you into this universe of madness with its weird and edgy characters. But after watching the series finale, I felt like Sheldon in The Big Bang Theory when Amy told him that Indiana Jones had zero impact on the plot of Raiders of the Lost Ark — without Indy, the outcome would have been the same. Spoiler: it’s similar to The Umbrella Academy — the world is better off without them, which is a bummer.

However, there is one great thing the show achieved: thanks to its edgy and weird characters, Ellen Page’s transformation to Elliot Page, and thus the evolution from Vanya to Victor, was no big deal at all. And I really like that this young man could become a young man literally.

But aside from the personal development of the actor, I’m not so happy with the development of the characters overall. While Five and Klaus (kind of) grow personally, the other characters are trapped in a back and forth. That makes Five and Klaus the stars of the show for me. Aidan Gallagher (Five) and Robert Sheehan (Klaus) did an impressive job. While I knew Robert Sheehan already from Misfits, Aidan Gallagher was a new face to me. I hope to see both of them in big roles soon. Unpopular opinion: I can even imagine Robert Sheehan as a new James Bond. At least he’s Irish.

While the first two seasons of the show were pretty good and convinced me, the third season had trouble maintaining the quality of its predecessors. Still, by the end of Season 3, I was curious to see where this was going and eagerly awaiting Season 4.

I enjoyed watching Season 4, but it’s for the best that the show is ending — unless you end it the way the showrunners did in the season finale. This ending was a slap in the face for anyone who likes the show. I couldn’t think of a more uncreative and predictable conclusion. For me, the last two episodes got their excitement solely from the question: you won’t end the show that badly, will you? And yep, they did. I mean, watzefack, there could have been a multiverse of better options. And the unnecessary post-credit scene? A goofy move to say, “Yeah, we could add more seasons or create a new version from here.” But please, don’t.

In general, I really liked the show and grew attached to it, but the ending is just unlikable.

Mrs. Davis was an Amazon suggestion for me. Usually, I ignore these, but the synopsis intrigued me: a nun fighting an AI. Having grown up in a Christian household—and as a fan of Warrior Nun (and still active church member)—I like those fantasy stories derived from the stories told in the Bible. I wouldn’t say I am deeply religious, but rather a hopeless romantic who believes there must be something like karma (I know, not a Christian concept, so let’s call it God…) or life after death. Yet, the science enthusiast in me knows there’s no evidence for such things.

However, I decided to give the show a try, and after the first 20 minutes, I was left wondering, “Watzefack am I watching?” Even after the first episode, I still had no clue where it was going. But the ending compelled me to watch the next episode. It wasn’t until at least episode 4 that the storylines began to untangle, and the bigger picture became more and more visible.

Ben Travers of IndieWire wrote, “Mrs. Davis is made to entertain, first and foremost, and it’s a highly enjoyable experience whether you engage with its deeper issues or not. Betty Gilpin is delightful. The larger ensemble matches her irresistible energy. The visuals are colorful and vast. The scripts are tight, the momentum unwavering, and the sheer joy palpable.”

Rolling Stone‘s Alan Sepinwall said, “Mrs. Davis featured some of the crazier plot twists you will ever see, yet managed to be genuinely moving and thoughtful even in the middle of all its ridiculousness.”

I couldn’t agree more with these reviews. The way Mrs. Davis is told proves that creative storytelling can elevate a story, and the idea behind Mrs. Davis isn’t bad at all.

I had never heard of the show before Amazon suggested it, but it truly surprised me. I would recommend it any time, even if you’re not particularly interested in Christian history.

Amazing, how quickly 30 years pass by. For his birthday in 1994, my father received a “cheap” (around 120 DM) beginner keyboard as a gift. It was also a highly intriguing toy for me and became the foundation for my first attempts at music production. With a cassette deck beside me—focus—and record, the first short pieces were soon composed and immortalized on tape. But what is eternal if you can quickly erase or overwrite the cassette? Consequently, there are no recordings left from that time, but melodies stuck in my head and still find their way into my productions decades later to sound even better than I expected 30 years ago.

In late 1995 or early 1996, I got my first PC. A Pentium II with a 60 MHz clock speed, 8 MB of RAM, and even a double-speed CD-ROM drive. Curious, I explored the thing, and my life changed when I discovered the built-in wave editor in Windows 95, which allowed for basic sample editing. In complete ignorance of any audio technical fundamentals, I placed the included microphone in front of the speaker of my first stereo system and hit record. I quickly learned that there were better ways to get samples. With Magix Music Maker, I had my first DAW, which I pushed to the limit. Later came Cakewalk, Cubase, SoundClub (for 10 German Marks at MakroMarkt), Rebirth, Fruity Loops, Reason, and finally Ableton. In pedagogy, they elaborate on the concept of lifelong learning; in music production, it’s an everyday reality. Only time will tell what challenges artificial intelligence will bring.

I also can’t remember exactly how many times I had to reinstall my computer in the past three decades, and how often all data and songs were irretrievably lost without backup. You get frustrated and keep going, trying to reconstruct some things you can remember and create something better. The earliest surviving recordings I have are on a cassette from 1997. The songs on it were probably created in 1996 and 1997. Some, possibly even earlier. Many things I recorded on CD I no longer have myself (to my surprise), but my friend—and longtime Latex Distortion companion René—fortunately still has his CD collection and thus an archive of our creations. Many thanks, my friend! I digitized these and the cassette and incorporated them into the mixes. Some pieces were also released, most on my net label “one bit wonder net.music,” while others were only presented to the public at our rare live performances. Making these mixes was truly a rollercoaster of melancholy and emotions. Suddenly, I was 20 again.

I was also quite surprised at the range of my work over the past three decades. Many things (from René’s archive) had already completely slipped my mind, and it was very exciting to rediscover them. For other pieces, the CD cover and inlay wer missing, and thus, the names of the individual tracks are mostly unknown. But names are just smoke and mirrors. Plus, there are some new tracks and demos I’m still working on that I put in the mix. And the range was also the reason the planned anniversary mix turned into three mixes, each with 30 tracks.

From the tracklists, you will also see various monikers that I have used over the last 30 years. Unless additional artists are explicitly featured in the track names, I would like to mention that I created ‘Latex Distortion’ with my friend René Schinkel in 1999 (active as a a duo until 2009), to whom a big thank you is owed for this wonderful time together. An equally big thank you goes to Torsten Gericke, with whom I run the project Noise Tales, even though it is currently on hiatus. Without him, many of my humble song ideas would not have become finished or even good songs. Furthermore, I would like to thank Steffen Bennemann (formerly known as Stalker), with whom I ran our joint netlabel ‘one bit wonder net.music’ for three years and co-produced a track as ‘Franz Eder.’ Additionally, a thank you to Kalle Weiß, with whom I intended to start the project ‘vorsumar,’ which never went beyond a single track (that was never even officially completed), and who always has constructive suggestions for the sound of my tracks.

90 songs, about 5 and a half composed hours, compiled for you, but mainly for me. These are definitely the most emotional mixes I’ve ever made. I could write much more here, but this is about my musical life story, so turn up the speakers and embark on a wild journey. 

Part 1 of 3: Dance with Me, Myself, and I

When I started putting together the songs for a mix, it was clear to me that this mix had to be something for the dance floor. And as I listened through the tracks, I realized that there would be more than just one mix – the styles were too diverse.

However, I wanted to design the first mix for the dance floor. This one is now a collection of relatively calm dance tracks – by the second mix at the latest, you’ll know what I’m talking about – that I’ve created over the decades. Some of them are really new, just a few weeks old, while others are over 20 years old. But they all have one thing in common: they are timeless to me; pieces that can still be played today without anyone being able to tell how old the song is.

Tracklist:

01 – Latex Distortion – BIOS (1bit032) – 2008
02 – Kultobjekt – Lasmedo (1bit014) – 2006
03 – Latex Distortion – Tanga Girl (Mausmaki Remix) – 2000
04 – Flektron – Black Channel – 1999
05 – Franz Eder – Eisbein mit Sülze – 2006
06 – Latex Distortion – Tanga Girl – 2000
07 – Kultobjekt – Alter Rost liebt nicht (1bit014) – 2006
08 – Kultobjekt – War – 2022
09 – Kultobjekt – City Heat – 2024
10 – Spud Murphy – Nachtdigital (ND CD 2003) – 2002
11 – Latex Distortion – Enmoxx – 2015
12 – Latex Distortion – Night Fighter (demo) – 2015
13 – Latex Distortion – Nebuland II (demo) – 2015
14 – Latex Distortion – A desperate Moment (1bit032) – 2008
15 – Solism – in latex – 2000
16 – Latex Distortion – One step shake hands – 2003
17 – Latex Distortion – Mirceaux cranque – 2015
18 – Kultobjekt – The Coffee brings you back (1bit007) – 2005
19 – Latex Distortion – Recorder Malfunction 01 – 2001
20 – Latex Distortion – Kick Mkons balls – 2004
21 – Latex Distortion – Candy Pop (1bit018) – 2006
22 – Latex Distortion – Recorder Malfunction 09 – 2001
23 – Sven Tasnadi – My friend is surfing between the clouds (like a Kultobjekt) (1bit009) – 2005
24 – Latex Distortion – Queen of Kings (1bit001) – 2005
25 – Kultobjekt – Getting hot for evening (1bit007) – 2005
26 – Kultobjekt – Styrmisch – 2022
27 – Kultobjekt – Eldorance (1bit014) – 2006
28 – Latex Distortion – Arms – 2015
29 – Dymanic – Mika (VAK Solisampler Vol. 3) – 2022
30 – Vorsumar – Like a child – 2018

Part 2 of 3: Rave with Me, Myself, and I

The hardest part of this mix was finding a fitting name. “Rave” is something I associate with the early 1990s: colorful hair, bright clothing, utility vests, gas masks, whistles, lollipops, and platform shoes. Unfortunately, by the time the “Smurf Techno” compilations came out, “rave” had degenerated into a derogatory term and a generic label for hastily thrown-together, commercial dance tracks.

Originally, rave was all about being wild, uninhibited, innovative, free, and peaceful. The scene gradually distanced itself from the term and created new categories to avoid being boxed into the “rave” label. The legendary radio station “Evosonic” was the medium of choice for discovering new tracks and genres, and it was on whenever possible. Chris Liebing and his “Schranz” were just one example of this, but one that had a lasting influence on me. Schranz, at its peak, became the successor to rave and later almost turned into a derogatory term itself.

This mix lies somewhere between rave and Schranz, with a few nods to industrial and IDM as well.

01 – Latex Distortion – ND INTR0 – 2001
02 – Latex Distortion – Manchester – 2000
03 – Latex Distortion – First Time – 1999
04 – Latex Distortion – Mamalatex – 2002
05 – Latex Distortion – Nachtdigital Pt. 5 – 2002
06 – Latex Distortion – Recorder Malfunction 02 – 2001
07 – Latex Distortion – Recorder Malfunction 04 – 2001
08 – Latex Distortion – Re.Peris – 2015
09 – Latex Distortion – Recorder Malfunction 10 – 2001
10 – Latex Distortion – Infinity Bay – 2017
11 – Noise Tales – Idols (Latex Distortion Cover) – 2018
12 – Latex Distortion – Recorder Malfunction 08 – 2001
13 – Latex Distortion – Snarkk – 2000
14 – Latex Distortion – Be in a loop – 2000
15 – Latex Distortion – Nachtdigital – 2000
16 – Latex Distortion – Femfarim (Live at Nachtdigital) – 2003
17 – Latex Distortion – Sex Tribe – 1999
18 – Latex Distortion – Trieb – 1999
19 – Latex Distortion – Safety I – 1999
20 – Latex Distortion – Ill Funk – 1999
21 – Latex Distortion – Safety II – 1999
22 – Latex Distortion – Empfangsdame – 2001
23 – Latex Distortion – Recorder Malfunction 06 – 2001
24 – Spud Murphy – Tempeltanz (Latex Distortion Rework) – 2001
25 – Latex Distortion – Addicted to Hrrrmmm – 2003
26 – Latex Distortion – Nordmeer (2024 Edit) – 2000/2024
27 – Latex Distortion – Agent’s Run – 2000
28 – Latex Distortion – Distortion Holiday – 2001
29 – Latex Distortion – Angels shaving guitars – 2003
30 – Latex Distortion – Red Twins Snapping – 2005

Part 3 of 3: Chill with Me, Myself, and I

Every good rave or club has a chill-out area. It’s a place to relax, listen, sleep, or just chat in a cozy atmosphere with soothing music. Although I never spent much time in these areas myself, I always enjoyed the experience and liked listening to the music offered there. “The Future Sound of London” or “Aphex Twin” were impressive and inspiring, even on my Walkman during the school bus rides.

A multitude of new musical influences overwhelmed me during my time at university. While I had previously lived in a purely electronic world, I discovered Britpop, which also introduced me to the music of the 1960s. But Alternative, Classical, Blues, Jazz, Indie, Soul, and Hip-Hop also captured my interest, as did Punk and Grunge because they were never dead and had always been two of my passions from before the electronic era. It felt like I had to catch up on the past fifty years of music in record time. At the same time, I tried to compose and produce new things. That’s not so easy when you can’t play the guitar, and music synthesis on a computer is good, but still far from where it is today. This mix combines all of that in a calm way.

Tracklist:

01 – Latex Distortion – Pinaio – 2016
02 – Latex Distortion – ijooji – 2006
03 – Latex Distortion – Satisfiction – 2015
04 – Solism – Story of a hat – 2000
05 – Latex Distortion – Dazz (ack009)- 2005
06 – Latex Distortion – A numberless mess (feat. 2secondimpression) – 2016
07 – Latex Distortion – Colva – 2016
08 – Latex Distortion – Pünö (Or the Story of a Summer Day turning into severe Weather) – 2015
09 – Noise Tales – Interpolated – 2013
10 – Latex Distortion – Time for oxtail soup (1bit025) – 2007
11 – Latex Distortion – Withered rose – 2016
12 – Latex Distortion – The bootsmith hatefuck – 2016
13 – Kometenschmidt – Chill Bill – 2024
14 – Solism – Wednesday – 2000
15 – Latex Distortion – Isotope – 2016
16 – Kometenschmidt – Too much (feat. BrainDED & Neverending) – 2019
17 – Kultobjekt – The coffee brings you back (Daniel Stefanik, too) (1bit007)- 2005
18 – Wighnomy Brothers – Pontifekks (Latex Distortion Remix) – 2006
19 – Stalker – Introducing Savya (Kultobjekt Remix) (1bit012) – 2006
20 – Latex Distortion – Macchia valley (brq 018) – 2006
21 – Fette Fische – Orientexpress – 1996
22 – Latex Distortion – Shitprickpop (1bit018) – 2006
23 – Kometenschmidt – The old record store (feta. BrainDED) – (2024)
24 – Latex Distortion – Run away (feat. Holly) – 2016
25 – Carter Pillaparge – C’est la fucking vie (2024)
26 – Kometenschmidt – Cowgirls – 2015
27 – Latex Distortion – Jasshole (1bit018) – 2006
28 – Noise Tales – Almost quiet (1bit006) – 2003
29 – Kometenschmidt – Grillguerilla (feat. bÄyz) – 2015/2024
30 – Latex Distortion – the plain – 2018

German Version

Erstaunlich, wie schnell 30 Jahre an einem vorbeiziehen. Zum Geburtstag 1994 bekam mein Vater ein „billiges“ (ca. 120 DM) Einsteiger-Keyboard zum Geburtstag. Das war auch für mich ein überaus interessantes Spielzeug und gleichzeitig die Grundlage meiner ersten Gehversuche in der Musikproduktion. Mit Kassettendeck daneben – Konzentration – und Aufnahme, waren bald die ersten kurzen Stücke komponiert und auf Band verewigt. Aber was ist schon ewig, wenn man die Kassette schnell wieder löschen oder überspielen kann? Folglich gibt es aus dieser Zeit keine Aufnahmen mehr, wohl aber Melodien, die sich in meinem Kopf verhafteten und Jahrzehnte später noch in meine Produktionen einfließen.

Ende 1995 oder Anfang 1996 bekam ich meinen ersten PC. Pentium II mit 60 MHz Taktfrequenz, 8 MB RAM und sogar Double-Speed CD-ROM-Laufwerk. Neugierig erkundete ich das Ding und mein Leben änderte sich, als ich auf den im Windows 95 integrierten Wave-Editor stieß, mit dem man rudimentär auch Samples aneinander schneiden konnte. In völliger Unkenntnis jedweder audiotechnischen Grundlagen platzierte ich das mitgelieferte Mikrofon vor dem Lautsprecher meiner ersten Stereoanlage und drückte auf Aufnahme. Schnell lernte ich, dass es auch bessere Wege gibt, um an Samples zu kommen. Mit dem Magix Music Maker hatte ich erstmals eine DAW, die ich ans Maximum ausreizte. Später folgten Cakewalk, Cubase, SoundClub (für 10 DM bei MakroMarkt), Rebirth, Fruity Loops, Reason und schließlich Ableton. In der Pädagogik spricht man vom Konzept des lebenslangen Lernens, in der Musikproduktion von Alltag. Welche Herausforderungen uns künstliche Intelligenz bescheren wird, wird die Zeit zeigen. 

Ich weiß auch nicht mehr so genau wie oft ich meine Computer neu aufsetzen musste in den vergangenen drei Jahrzehnten und wie oft wirklich alle Daten und Lieder, ohne Backup, unwiederbringlich verloren gingen. Man ist frustriert und macht weiter, versucht manche Sachen, an die man sich erinnern kann, zu rekonstruieren und erschafft dann etwas Besseres. Die frühesten erhalten Aufnahmen liegen bei mir auf einer Kassette aus dem Jahr 1997. Die Lieder darauf sind vermutlich 1996 und 1997 entstanden. Manchen vielleicht auch früher. Viele Sachen, die ich auf CD bannte, habe ich inzwischen selbst gar nicht mehr (zu meiner Überraschung), aber mein Freund – und jahrelanger Latex Distortion Mitstreiter René – hat zum Glück noch seine CD-Kollektion und damit auch ein Archiv unseres Schaffens. Vielen Dank an dieser Stelle! Diese und auch die Kassette habe ich digitalisiert und mit in die Mixe eingearbeitet. Einige Stücke davon wurden auch veröffentlicht, der Großteil auf meinem Netlabel „one bit wonder net.music“, andere wurden der Öffentlichkeit lediglich bei unseren spärlichen Live-Auftritten präsentiert. Es war wirklich eine Achterbahnfahrt der Melancholie und Emotionen. Da war ich plötzlich wieder 20. 

Überhaupt war ich doch überrascht, in welcher Bandbreite sich mein Schaffen der letzten drei Dekaden bewegt. Viele Sachen (aus Renés Archiv) waren für mich z. T. schon völlig in Vergessenheit geraten und es war sehr spannend, das neu zu entdecken. Bei anderen Sachen fehlte das CD-Cover und die Namen der einzelnen Stücke somit größtenteils unbekannt. Aber Namen sind ja bekanntlich Schall und Rauch. Und dann gibt es ja noch neue Tracks und Demos, an denen ich arbeite, die mit in die Mixe mussten. Diese Bandbreite war auch der Grund dafür, dass aus dem geplanten Jubiläumsmix drei Mixe mit jeweils 30 Titeln geworden sind. 

Anhand der Tracklisten werdet ihr auch eine ganze Reihe meiner Künstlernamen sehen, die ich in den letzten 30 Jahren genutzt habe. Sofern in den Tracknamen nicht explizit noch weitere Künstler gefeatured sind, möchte ich gern ergänzen, dass ich „Latex Distortion“ bis 2009 zusammen mit meinem Freund René Schinkel gemacht habe, dem hier ein dickes Dankeschön für diese wunderbare gemeinsame Zeit gebührt. Und ein mindestens ebenso dickes Dankeschön geht raus an Torsten Gericke, mit dem ich gemeinsam das Projekt Noise Tales mache, auch wenn dieses momentan pausiert. Aber ohne ihn wäre aus manch kümmerlicher Liedidee kein fertiges oder gar gutes Lied geworden. Weiterhin möchte ich mich bei Steffen Bennemann (vormals bekannt als Stalker) bedanken, mit dem ich drei Jahre unser gemeinsames Netlabel „one bit wonder net.music“ betreiben und gemeinsam als „Franz Eder“ ein Stück komponieren und produzieren durfte. Außerdem ein Dankeschön an Kalle Weiß, mit dem ich das Projekt „vorsumar“ starten wollte, was aber nie über einen Track hinaus gekommen ist (der zudem nie offiziell beendet wurde) und der jederzeit konstruktive Vorschläge für den Sound meiner Tracks hat. 

90 Lieder, ca. 360 komponierte Minuten, zusammengestellt für euch, aber vor allem natürlich für mich. Daher ist diese Mixreihe für mich definitiv die emotionalste, die ich jemals gemacht habe. Ich könnte hier noch sehr viel mehr schreiben, aber es geht hier um meine musikalische Lebensgeschichte, also dreht die Boxen auf und begebt euch auf eine wilde Reise. 

Teil 1 von 3: Dance with Me, Myself, and I

Als ich begann, die Lieder für einen Mix zusammenzusuchen, war für mich klar, dass dieser Mix etwas für die Tanzfläche sein musste. Und während ich mich durch die Sachen hörte, wurde mir bewusst, dass es mehr als nur einen Mix geben wird – zu unterschiedlich waren die Stile. 

Dennoch wollte ich den ersten Mix für die Tanzfläche konzipieren. Dieser ist nun  eine Sammlung von vergleichsweise ruhigen Tanznummern – spätestens nach dem zweiten Mix wisst ihr, wovon ich rede –  die ich über die Jahrzehnte gemacht habe. Einiges davon ist wirklich neu, erst ein paar Wochen alt, anderes hat indes schon über 20 Jahre auf dem Buckel. Aber eins haben die Lieder gemeinsam: sie sind für mich zeitlos; Stücke, die man heute noch spielen kann, ohne, dass jemand sagen könnte, wie alt das Lied ist.

Tracklist:

01 – Latex Distortion – BIOS (1bit032) – 2008
02 – Kultobjekt – Lasmedo (1bit014) – 2006
03 – Latex Distortion – Tanga Girl (Mausmaki Remix) – 2000
04 – Flektron – Black Channel – 1999
05 – Franz Eder – Eisbein mit Sülze – 2006
06 – Latex Distortion – Tanga Girl – 2000
07 – Kultobjekt – Alter Rost liebt nicht (1bit014) – 2006
08 – Kultobjekt – War – 2022
09 – Kultobjekt – City Heat – 2024
10 – Spud Murphy – Nachtdigital (ND CD 2003) – 2002
11 – Latex Distortion – Enmoxx – 2015
12 – Latex Distortion – Night Fighter (demo) – 2015
13 – Latex Distortion – Nebuland II (demo) – 2015
14 – Latex Distortion – A desperate Moment (1bit032) – 2008
15 – Solism – in latex – 2000
16 – Latex Distortion – One step shake hands – 2003
17 – Latex Distortion – Mirceaux cranque – 2015
18 – Kultobjekt – The Coffee brings you back (1bit007) – 2005
19 – Latex Distortion – Recorder Malfunction 01 – 2001
20 – Latex Distortion – Kick Mkons balls – 2004
21 – Latex Distortion – Candy Pop (1bit018) – 2006
22 – Latex Distortion – Recorder Malfunction 09 – 2001
23 – Sven Tasnadi – My friend is surfing between the clouds (like a Kultobjekt) (1bit009) – 2005
24 – Latex Distortion – Queen of Kings (1bit001) – 2005
25 – Kultobjekt – Getting hot for evening (1bit007) – 2005
26 – Kultobjekt – Styrmisch – 2022
27 – Kultobjekt – Eldorance (1bit014) – 2006
28 – Latex Distortion – Arms – 2015
29 – Dymanic – Mika (VAK Solisampler Vol. 3) – 2022
30 – Vorsumar – Like a child – 2018

Teil 2 von 3: Rave with Me, Myself, and I

Das Schwierigste an diesem Mix war, einen passenden Namen zu finden. Rave. Das ist etwas, das ich mit den frühen 1990ern verbinde. Bunte Haare, grelle Kleidung, Bauwesten, Gas- bzw. Atemschutzmaske, Trillerpfeifen, Lollies und Plateauschuhe. Spätestens mit den Schlumpfentechno Compilations verkam „Rave“ leider zum Schimpfwort und Gattungsbegriff für lieblos dahin gerotzte, kommerzielle Dancefloor-Nummern. 

Rave ursprünglich vor allem wild, ungezwungen, innovativ, frei und friedlich. Die Szene entfernte sich immer mehr von diesem Begriff und schuf neue Schubladen, um nicht mehr in der Rave-Schublade zu landen. Der Kultsender „Evosonic“ war das Medium der Stunde, um neue Lieder und Schubladen zu entdecken und lief, wann immer möglich. Chris Liebing und sein „Schranz“ waren nur eine davon, die mich jedoch nachhaltig beeinflusste. Schranz wurde in seiner Hochzeit zum Nachfolger des Rave und später fast auch schon zum Schimpfwort. 

Dieser Mix bewegt sich irgendwo zwischen Rave und Schranz, schaut aber auch mal beim Industrial und IDM vorbei. 

Tracklist:

01 – Latex Distortion – ND INTR0 – 2001
02 – Latex Distortion – Manchester – 2000
03 – Latex Distortion – First Time – 1999
04 – Latex Distortion – Mamalatex – 2002
05 – Latex Distortion – Nachtdigital Pt. 5 – 2002
06 – Latex Distortion – Recorder Malfunction 02 – 2001
07 – Latex Distortion – Recorder Malfunction 04 – 2001
08 – Latex Distortion – Re.Peris – 2015
09 – Latex Distortion – Recorder Malfunction 10 – 2001
10 – Latex Distortion – Infinity Bay – 2017
11 – Noise Tales – Idols (Latex Distortion Cover) – 2018
12 – Latex Distortion – Recorder Malfunction 08 – 2001
13 – Latex Distortion – Snarkk – 2000
14 – Latex Distortion – Be in a loop – 2000
15 – Latex Distortion – Nachtdigital – 2000
16 – Latex Distortion – Femfarim (Live at Nachtdigital) – 2003
17 – Latex Distortion – Sex Tribe – 1999
18 – Latex Distortion – Trieb – 1999
19 – Latex Distortion – Safety I – 1999
20 – Latex Distortion – Ill Funk – 1999
21 – Latex Distortion – Safety II – 1999
22 – Latex Distortion – Empfangsdame – 2001
23 – Latex Distortion – Recorder Malfunction 06 – 2001
24 – Spud Murphy – Tempeltanz (Latex Distortion Rework) – 2001
25 – Latex Distortion – Addicted to Hrrrmmm – 2003
26 – Latex Distortion – Nordmeer (2024 Edit) – 2000/2024
27 – Latex Distortion – Agent’s Run – 2000
28 – Latex Distortion – Distortion Holiday – 2001
29 – Latex Distortion – Angels shaving guitars – 2003
30 – Latex Distortion – Red Twins Snapping – 2005

Teil 3 von 3: Chill with Me, Myself, and I

Zu jedem guten Rave oder Club gehört ein Chill-out-Bereich. Erholen, hören, schlafen oder einfach nur bei lauschiger Musik im gemütlichen Ambiente reden. Obwohl ich selbst nie so viel Zeit in diesen Bereichen verbrachte, genoss ich diese Zeit immer und hörte gern die dort dargebotene Musik. „The Future Sound of London“ oder „Aphex Twin“ waren auf dem Walkman im Schulbus auch beeindruckend und inspirierend.

Eine Vielzahl neuer musikalischer Einflüsse überrumpelte mich beim Studium. Während ich bisher in einer rein elektronischen Welt lebte, entdeckte ich Brit-Pop, damit verbunden auch die 60er-Jahre für mich. Aber auch Alternative, Klassik, Blues, Jazz, Indie, Soul, Hip-Hop und Punk und Grunge waren ja eh nie tot und schon immer zwei meiner Leidenschaften aus vorelektronischer Zeit. Es fühlte sich an, als müsse ich das vergangene halbe Jahrhundert musikalisch in Rekordzeit aufarbeiten. Gleichzeitig probierte ich natürlich auch, neue Dinge zu komponieren und zu produzieren. Das ist gar nicht so leicht, wenn man nicht Gitarre spielen kann und Musiksynthese am Rechner zwar gut, aber noch jenseits von authentisch ist … Dieser Mix kombiniert all das in ruhiger Form. 

Tracklist:

01 – Latex Distortion – Pinaio – 2016
02 – Latex Distortion – ijooji – 2006
03 – Latex Distortion – Satisfiction – 2015
04 – Solism – Story of a hat – 2000
05 – Latex Distortion – Dazz (ack009)- 2005
06 – Latex Distortion – A numberless mess (feat. 2secondimpression) – 2016
07 – Latex Distortion – Colva – 2016
08 – Latex Distortion – Pünö (Or the Story of a Summer Day turning into severe Weather) – 2015
09 – Noise Tales – Interpolated – 2013
10 – Latex Distortion – Time for oxtail soup (1bit025) – 2007
11 – Latex Distortion – Withered rose – 2016
12 – Latex Distortion – The bootsmith hatefuck – 2016
13 – Kometenschmidt – Chill Bill – 2024
14 – Solism – Wednesday – 2000
15 – Latex Distortion – Isotope – 2016
16 – Kometenschmidt – Too much (feat. BrainDED & Neverending) – 2019
17 – Kultobjekt – The coffee brings you back (Daniel Stefanik, too) (1bit007)- 2005
18 – Wighnomy Brothers – Pontifekks (Latex Distortion Remix) – 2006
19 – Stalker – Introducing Savya (Kultobjekt Remix) (1bit012) – 2006
20 – Latex Distortion – Macchia valley (brq 018) – 2006
21 – Fette Fische – Orientexpress – 1996
22 – Latex Distortion – Shitprickpop (1bit018) – 2006
23 – Kometenschmidt – The old record store (feta. BrainDED) – (2024)
24 – Latex Distortion – Run away (feat. Holly) – 2016
25 – Carter Pillaparge – C’est la fucking vie (2024)
26 – Kometenschmidt – Cowgirls – 2015
27 – Latex Distortion – Jasshole (1bit018) – 2006
28 – Noise Tales – Almost quiet (1bit006) – 2003
29 – Kometenschmidt – Grillguerilla (feat. bÄyz) – 2015/2024
30 – Latex Distortion – the plain – 2018