Tobias Schmid produced his latest work, “The FU EP” (AND23), during the first Corona lockdown. When pandemic control measures were announced, half of Audision’s team took it lightly and thought: “It's wonderful that this pandemic falls at a time when I'm settled down enough that I don’t have to worry about the price of a bottle of red wine anymore.” He paid a visit to Jaques’ wine depot and back at home put his feet up, cranked up the Netflix machine and let himself go for a few weeks. Another thought slowly developed, too: The pandemic might also fall at a time when you can buy clones of legendary drum machines and bass sequencers for less cash – a thought that instantly inspired him. He ordered everything he needed and later picked up the Thomann packages from his neighbour. Our hero soon realised, that no viral infection had yet set in, so nothing stood in the way of letting his ideas, beats and basslines flow freely. He disappeared into the studio... ... and this is what he came up with: A1: Acid 672
This number refers to Studio 672 in Cologne, where the legendary Total Confusion clubnights took place. Hardcore Acid purists will probably shout: “Fake!” but are quickly hooked by the autumnal strings – a Mathew Jonson and Lawrence reference from the early 2000s. A2: PVSHL-202
PVSHL-202 – is that a new drum machine’s name or a track from Aphex Twin’s lost hard disk? A Basic Channel-like dub, originally paired with a Hi-NRG bassline. The hihat work is self-quoting (well done, Audision). The track is packed with suspense – ideal for listening to while waiting for your PCR test result. B1: Acid 672 (Tensnake Quarantine Remix)
It’s nice for Tobias that he isn’t the only one in quarantine. His buddy Marco Niemerski comes round for a glass of Bordeaux and delivers an alarmist-bouncing acid-stomper, where he filters out the bass line with a skill akin to top German virologist Christian Drosten who filters out those false positive results. B2: Glimmer Schwarzes Kerosin
A sizzling-spherical minimal track with skilful frequency management in the style of GAS’ Zauberberg or Jan Jelinek's loop finding-jazz-records. It’s also a reference to the Augsburg former nightlife and the clubs that died with it.