Robert BabiczÃ¢â‚¬â„¢s productions and remixes spanning the past decade have made increasingly impressive ripples in the gigantic pond known as German techno Ã¢â‚¬â€œ moreso, I am inclined to believe, than his work in the days of Ã¢â‚¬ËœtrueÃ¢â‚¬â„¢ acid house. I am unable to accurately estimate the number of times that I have played out Joris VoornÃ¢â‚¬â„¢s remix of BabiczÃ¢â‚¬â„¢s Ã¢â‚¬Å“Dark FlowerÃ¢â‚¬Â (quite the lovely track in its own right), and BabiczÃ¢â‚¬â„¢s Disco Universum remix of Gui BorattoÃ¢â‚¬â„¢s Mr. Decay is another personal favorite of mine.
That having been said, Ã¢â‚¬Å“Pink TreesÃ¢â‚¬Â took a bit longer for me to appreciate. Its deeper, darker underbelly slowly churns beneath a likewise brooding tempo; as such, its eight-and-a-half minute duration is necessary for the full melody to realize itself. The synthesizers are the only part of the track that notably evolve into deeper and sexy techno; I imagine this singular quality makes the track a most essential addition to the earliest parts of any contemporary set. Grinding along at a modest rate with a likewise modest melody, Ã¢â‚¬Å“Pink TreesÃ¢â‚¬Â appears to have been produced with the intention of precluding tracks that hit harder without sacrificing the musical integrity upon which Babicz has built his reputation.
Ã¢â‚¬Å“Percofonik,Ã¢â‚¬Â the EPÃ¢â‚¬â„¢s second track, is an astonishingly fresh tune with unrelenting bass and tantalizing brushes with tribal percussion. It deftly skims the opposing side of Ã¢â‚¬ËœGerman technoÃ¢â‚¬â„¢ and comes as a true surprise on this release given the nature of the first track. BabiczÃ¢â‚¬â„¢s second production makes use of the same type of gnarled and rousing bass that propels Ã¢â‚¬Å“Pink TreesÃ¢â‚¬Â through its Herculean eight plus minutes of playtime; its density and wavelength, however, are substantially increased. This suggests to me that Ã¢â‚¬Å“PercofonikÃ¢â‚¬Â may well fit more aptly amongst tracks with higher octane than contemplative techno tracks usually incorporate. In my mind, Ã¢â‚¬Å“PercofonikÃ¢â‚¬Â is a fitting – if somewhat eclectic and funky – complement to its partner production, and whose constituent attributes promote its inclusion amongst styles ranging from deep house to tech house and beyond.