100 electronica3/20/2023 ![]() Interminable spaces abound in these deep space expeditions. He would team up with Birmingham’s Higher Intelligence Agency as well for the dub waves of Deep Space Network Meets Higher Intelligence Agency. Moufang started his spacey excursions with the classic Deep Space Network albums Earth to Infinity and Big Rooms. In that year alone, he crafted two albums for his Fax recordings, followed with 24 albums as “Move D / Namlook” alone. ![]() In a big bang of creative exploration, he embarked on several projects with and for the legendary ambient pioneer Pete Namlook. Like some kind of exorcism through dance.”Īnd yet in 1995, he was exploring his quieter side in the studio. It’s some kind of universal language that works with all kinds of different cultures and even species – my cat is into music, I can tell! I’m not religious and I’m very skeptical about religion as a dogma, but the existence of music seems somehow divine….It may sound weird or esoteric, but I feel like it’s healing people and even the planet. It’s amazing what music does to a person. We can have this great experience together and we don’t need a translator. “I can be with total strangers in Taiwan, not being able to speak with people, not knowing anything about them but, with the language of music, I can totally relate and communicate. “We get together to have fun,” he told Deep House Amsterdam in 2017. The convergence of the human and the machine - and the balance he sought - revolutionized how he thought about music’s importance. Soul, funk, and hip hop, and then house and techno shaped his instincts and sensibilities before warehouses and outdoor parties opened up new sonic possibilities. “Black music” as he described it, was central to his formation. ![]() A denizen of discotheques, he learned to DJ one night at a time, observing music’s relationship to movement one song at a time. Living in Mannheim in the late 1980s, he was at the forefront of nightclub culture before acid house or raves swept through Europe. By the 2000s, Germany dominated much of global electronic music culture with its Berghain club in Berlin and Vath’s Cocoon Recordings.īut of all these breakout artists and scenes, David Moufang as Move D, a classically trained musician, pianist and jazz guitarist from Heidelberg, would write perhaps the consummate German techno album of the 1990s, reflecting a quieter, more sensitive side of his native culture. His mellifluous style was soothing and yet astonishing in its melodic insights and rhythmic turns, drawing heavily from jazz, soul and house music, mixing his ambient techno into an aural absinthe with a sixth sense for synthesizers’ ability to stretch space and time, Moufang casually opened the mind to the intimate places between notes and beats, and in those magical spaces, like the full moon moving between clouds, he could completely transform how one listened. In Berlin, Moritz Von Oswald and Mark Ernestus virtually invented “dub techno” as Basic Channel, a trippy fusion of subsonic bass, echoing percussion and hypnotic minimalism. By the 1990s, cities like Frankfurt were pioneering trance music, where Sven Vath headlined the infamous Dorian Gray nightclub and once reputedly played a nonstop 24-hour DJ set. Germany is one of the original seedbeds of popular electronic music, having hatched Kraftwerk, Tangerine Dream and Italy’s Giorgio Moroder in the 1970s. ![]()
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