{"id":5129,"date":"2018-01-09T23:01:28","date_gmt":"2018-01-09T23:01:28","guid":{"rendered":"http:\/\/wasserbassin.com\/site\/?post_type=product&p=5129"},"modified":"2025-08-05T00:21:41","modified_gmt":"2025-08-04T23:21:41","slug":"hypnobeat-prototech-2lp","status":"publish","type":"product","link":"https:\/\/www.wasserbassin.com\/site\/product\/hypnobeat-prototech-2lp\/","title":{"rendered":"Hypnobeat \u2013 Prototech – 2LP"},"content":{"rendered":"

Dark Entries<\/strong> and Serendip Lab have teamed up to release “Prototech<\/strong>“, the first vinyl retrospective by German electronic trio Hypnobeat<\/strong>, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat<\/strong> in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, \u201cthe desired level of technical sophistication.\u201d In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind\u2019s tribal music roots. Two cassette releases surfaced \u2013 1985\u2019s \u201cHuggables\u201d, and \u201cSpecials\/Spatials\u201d the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat<\/strong> concept of a \u201cnew tribalism\u201d, not least on their \u201cProvocative Percussion\u201d double 12\u2033 released in 2006.<\/p>\n

For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on \u201cSlash! Buffalo Eats Brass\u201d with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient \u201cCan God Rewind?\u201d is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track \u201cThe Arumbaya Fetish\u201d was a cathartic venting of Brown\u2019s least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature \u201cMoon Jump\u201d places limber 303 lead lines in a hail of thunderstruck patterns. \u201cKilian\u201d has a stripped down quality that speaks more to the industrial era that Hypnobeat<\/strong> was conceived in, and \u201cMission In Congo\u201d is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat<\/strong> perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. \u201cI am amazed that the release sounds like we really had a plan back then\u2026\u201d states Brown, but this accidental magic is in fact the raison d\u2019etre of Hypnobeat<\/strong>. They weren\u2019t the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren\u2019t many artists stumbling across modes of expression that sound so relevant today.<\/p>\n

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus C\u0153urque holding the circuit board of a BOSS DR-55 rhythm machine.<\/p>\n

Dark Entries<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Dark Entries<\/strong><\/p>\n

\n

Dark Entries<\/strong> and Serendip Lab have teamed up to release “Prototech<\/strong>“, the first vinyl retrospective by German electronic trio Hypnobeat<\/strong>, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat<\/strong> in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, \u201cthe desired level of technical sophistication.\u201d<\/p>\n

The visceral opening track \u201cThe Arumbaya Fetish\u201d was a cathartic venting of Brown\u2019s least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature \u201cMoon Jump\u201d places limber 303 lead lines in a hail of thunderstruck patterns. \u201cKilian\u201d has a stripped down quality that speaks more to the industrial era that Hypnobeat<\/strong> was conceived in, and \u201cMission In Congo\u201d is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat<\/strong> perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. \u201cI am amazed that the release sounds like we really had a plan back then\u2026\u201d states Brown, but this accidental magic is in fact the raison d\u2019etre of Hypnobeat<\/strong>. They weren\u2019t the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren\u2019t many artists stumbling across modes of expression that sound so relevant today.<\/p>\n

\u25ba CLICK HERE TO LISTEN<\/a><\/p>\n

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