Exit Strategy 'Monodromie' review | Slow-paced showstoppers
Perhaps if one were asked to summarise Exit Strategy, then ‘small, but mighty’ would almost immediately fall from the mouth. Although still relatively new since rising from the cracks of Berlin’s pavements in late 2015, it has proved itself to be a seriously solid label which won’t be drifting off in the sunset just yet. Indeed, whether it’s the slow and dreamy delights, or the releases which are a touch chunkier and jolting, Exit Strategy has firmly stamped its footprint into the melodic music minefield, earning itself a name which brings the sometimes unusual, but continually awe-inspiring and full-substance releases across the dancefloor, into the headphones and beyond.
And yet, just like the sound it exhibits, there has always been an air of minimalism and mystique to the label. From 2015 to 2018, each EP release kept the artwork consistent: a somewhat maze drawing perpetuated on a mid-brown backdrop: only the artist and title being the change. But times have moved on, and so has Exit Strategy. For the past two years, the artwork has begun to emerge from the muted brown shadows of the predecessors, helping to paint some colour into the visuals. Last year we saw a play around with fonts, and in 2020, there’s a focus on the natural elements. And with this, comes the official reveal of the boss - Kristian Beyer. As his first ‘official release’, we are introduced to ‘Monodromie’. A three-part compilation, ‘Monodromie’ is told as “a tribute to the nights where we play very long sets”; that it is an album full of tracks that are found exciting but have never had chance to be utilised properly. As a certified expert to such sets, through partnerships with the likes of Dixon, his Âme co-partner Frank Wiedemann and, on occasion, techno connoisseur Rødhåd, Kristian easily has the full-ranged knowledge to compile and execute such an album.
PART I
Musumeci & Phunkadelica: Alabarda Spaziale
Having already confirmed to the world of their natural infusion with their previous collaborations, Musumeci and Phunkadelica combine their artistic talents yet again. 'Alabarda Spaziale', a phrase which seems befitting to that of a magical spell, seemingly translates itself into ‘space halberd’. Whether that’s correct or not, there’s a growing sense of the definition throughout. Phunkadelica shows support from the beginning, allowing psychedelic acid tones to be driven with heavily and hard hitting raptures like a battle axe, whilst radioactive notes conceitedly pose themselves forwards. As the first breakdown pushes the tempo faster, a second recurs with haptic sways making themselves known. This is where we become familiar with the magic of Musumeci’s input. With the end drawing near, we are reacquainted with the initial territory, yet this time with more zeal; much like a familiar face gracing our senses once more. It’s light, it’s bouncy and it’s fun: 'Alabarda Spaziale' is the perfect opening track to get to lighten up the mood.
Aera: House Sparrow
Although his ‘Prana EP’ is still hot off the pressing table, Aera shows no sign of slowing down with his addition to the compilation. Whether aware of it or not, he is quite possibly the master of meticulous layering and it’s proved quite rightly so with all the interwoven elements laid out over the full 6.07 minutes of the track. Continuing with the cheerful tone set from its predecessor, ‘House Sparrow’ purveys itself energetically, as artificially processed notes jerk round playfully and hit hats begin to tickle themselves in-between. As a whipping beat brings itself in, we become acquainted with sweet mechanical chirps, which much resemble a Sparrow singing along to the tune of the track. Time allows more energy to gather throughout, with all the elements to coercing respectfully in a charming and groovy fashion.
Mathias Schober: The Details
Oozing like dark, emotionless blood through the cold of the night, Mathias Schober’s 'The Details' is deducingly tantalising. A somewhat serious contrast in tone conveys the somewhat serious transformation of the album which is about to unfold, or as one would quite imagine. Immediately in, we are struck by a dubbed back beat, which fuses itself over occasional muffled kicks, and meanwhile, a wash of sandpaper shuffles grapple alongside pin-sharp hi-hats. Picking the pace up ever so gently creates a seductive enigma as the seconds pass by, whilst elements are gradually sprayed in. Even with the dooming walls enclosing upon us, we are pushed to persevere fluently. As the chords convey a clock ticking down to the final destination, there's a sense of hope that sinks deep through the soul. A track which, although it can sit itself perfectly at the start of a set as marketed, there’s something about it which just calls to be used as a sinister finale, somewhere.
PART II
Cooper Saver: Mountains
A new part, a new vibe. Cooper Saver delivers energy to the second serving of the compilation as soon as ‘Mountains’ lands in. But instead of taking a leaf from nature as the title would suggest, there’s a heavy focus on a machine chugging away to form the structure. Making the hairs on the back of your neck stand up straight from the electrifying dispositions laid bare, this is not one for the faint-hearted, or, is it ever one to become bored of. Relentlessly rattling on, there’s a constant turn of all the little elements marching on: razors exploding in slow-motion, timbered hi-hats and cosmic echoes. Short enough to catch a small breath, a sudden pause halts the chaos and brings the ferociousness back with a bite bigger than ever before.
Bryan Kessler: Next Level loser
High voltage and capricious drum kicks ensue a rather powerful introduction to ‘Next Level Loser’. It’s not long until we are thrown into the fray of the action, as a voice emerges and cries itself, almost quite desperately. Rumbling around, the bassline is provided with an air of delicacy with the addition of sleigh bells and the repeated cries, which in a sense sings along soothingly. It marries up with Cooper Saver’s rolling atmosphere, but with an apocalyptic turn to its outcome: the distressed voices and the incredibly forceful drum pads help perceive a weary mood as we move into middle-ground. Bryan Kessler is much like an auteur to his creations - musician, poet, producer and DJ: his productions are unique and captivating, and this is no different. As the panpipes are laid bare for a few seconds to relapse to a comforting escape, the beat snares in again, the aura more frantic and turbulent and striking up in an apocalyptic manner. As all elements pursue to close, we are left with the wails and the kick snares to see us out.
Arian 911: Introperspective
'Introperspective' establishes a joyous listening experience as soon as it jumps in. Chimes begin to embrace one another at fleeting speed to form a brightening and exuberant melody, whilst lucid plonks clap along gently. As the harmonious chords extend blissfully, a broken beat steps itself forward to pursue a rather distorted yet uniformed rhythm. Engaging the flow in a meditative fashion, blemished vocals sothe and bubble upon the top for a brief encounter and soon, all elements swoon upon each other. As the beat continues, a gentle flow breezes through with a light euphoric trance about and conjures feelings of sweet Summer memories in the mind. As a DJ in Ibiza for a large chunk of his career, Arian 911 lets us in on the beginning of his perspective, reminiscing about the euphoric dancefloors and the magic which lingered in the Island’s air, transcending it upon us and helping us to ignite the same feelings we have also shared on the dancefloor.
PART III
DKA: TIGER
There’s a certain double-edge consciousness of ‘Tiger’ which reaches out to play deep upon our emotions. Created during a self-confessed difficult period of his life, it is the result of DkA’s self-struggles, helping him get through his troubles, whilst its grandeur beauty is the temporary cure for letting us forget our own. It deposits an almost Mediterranean sound through its harmony presented to us, as the shuffling backbone makes us sway impulsively and a flute tenderly plays itself along. As the distinctive horns crescendo and struggle through, billowing plucks lead a solo moment before the beat trips upon itself for the finishing line, allowing the plucks to find a way out though the stress. The silky soft woodwind and cowing horns continue to wail along in a transitory progression, leaving the battling background of the past to burn like an ember into the ground.
Tom Flyn: Slowd
Tom Flynn is no stranger to the Exit Strategy family, and ‘Slowd’ shows us exactly why he makes a second appearance on the label. Travelling through somewhat clouded territory, aggressively hollow bee stings hook themselves continually onto the bassline, almost seeming like they'll never die down. Fearlessly the jibes march themselves onwards: the tight rhythmic drill seems to be playing copycat against a just-introduced lullaby, without any climax even setting itself in place just yet. Fearlessly marching on, its somewhat harsh driving sense is the perfect stir-up on the album, almost awakening the senses with force.
Aldebaran: Ramo D'oro
Ramo gives itself complete unique presence through its trans-blend of several influential sounds, making it one to remember as the compilation draws to a finish. From one corner, Aldebaran uses a distinct catalogue of tribal drums and pans; the opposite corner offering a futuristic feel through the laser beams and grizzly robotic voice. But through the contrast lies the magic. As the drums continue to set the steady pace, a soft horn blows up the harmonic scale, whilst wild wind sounds wither ever-so-slightly in the background. A melody so soothing, it almost drowns out the rougher elements until they pick up again so we are not left without reminder. Gelling along to a catastrophic ending, we become forgettingly lost in the beauty of the melancholic mirage, until it fizzles out and there’s no more.
Although we might have waited some time for a compilation from Exit Strategy to breathe out from the surface, there’s something about ‘Monodromie’ which just feels so incredibly right. It’s noted by Kristian that this album idea has been in his thoughts for some time now, and its carefully-curated composition undoubtedly tells us so. The tracks, which have been regularly tried and tested from the clubs to the live streams, are all from artists who are involved in the close realm of Exit Strategy and its related labels, giving a particular sense of intimacy. But what’s even more special is the structure. Nine tracks, with nine different soundscapes, all which range between 90bpm and 120bpm and bestow a real variation throughout of speeding up the flow to bringing it back down again, which in a sense mimics the feeling you would experience during an all-night set. It stands to say, that if this is what tributes are meant to be, then I don’t think you can get much better than this.
review by joanne Philpott
Monodromie Pt. I was released on Exit Strategy on 12th June 2020
Monodromie Pt. II & Pt. III was released on Exit Strategy on 19th June 2020
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