FOUNDATIONS: STEVE PICKTON
One of the unsung heroes of UK techno. As crucial as Aphex Twin, Black Dog, Plaid and Autechre.
Friends.
It’s Friday and we’re relaying the foundations.
This week with one of the unsung heroes of UK techno.
STEVE PICKTON
Since 1993, influenced by and “passionate about Jazz, Hip Hop, Disco, Soul, Techno, and House,” and self-teaching himself music theory, amiable Steve Pickton in his low-key manner for two and a half decades has been releasing his impressive techno productions as Stasis, Phenomyna, Paul W. Teebrooke, The Other World Collective and Sugar-Plum; his Hip Hop focused material as Skye, and from 2006 as Soul 223, for his House productions.
Additionally, he collaborated with Andy Turner, Dave Hill, Ed Handley, Mark Broom, and Peter Adshead in five groups: Allstars, Eco Tourist, Kapè Ill Miester, Nine Machine, and The Ted Howler Combo.
He has two labels: Otherworld Recordings, which was established in 1996, and Fencepiece, founded in 2019 with assistance from Dave Biggs, one of the owners of the Time Is Right record store in London.
He is one of the UK’s underrated producers, one who prefers quiet rather than the focus of attention and self-promotion. This has brought about the inevitability of obscurity, as if he were unknown or unimportant, and how he may be perceived generally. But this individual, who has pushed the boundaries of experimental electronic music in his own unique, pioneering style, is as crucial as Aphex Twin, Black Dog, Plaid, Autechre, to name a few, and needs to be recognised as such and placed alongside the other greats, celebrated equally.
This is a man who is grounded, staying true to his underground music roots, quietly focused on his passion, producing music of comprehensive beauty, emotive, finely tuned programmed percussion and fat beats, and an equal measure of rawness, resulting in countless timeless pieces.
SOUL 223
Working backwards, I begin with ‘Soul 223’. Since 2006, this seasoned producer has transitioned his productions from techno to house, and they are impressive, showcasing his ability to move seamlessly between styles while maintaining the highest standards of quality control. Five EPs of finally balanced music, with influences from Jazz, Disco, and Funk, to produce some incredible house music with a slight emphasis on techno. These represent lushly textured pieces with lovely sample-based elements and fine emotive concepts. My picks include some beautiful Detroit-influenced machine funk and beatdown house, including this gorgeous EP, ‘All City’ on Soul Jazz Records.
‘Q’
An excellent EP.
Be sure to also check out ‘In Search of Slowly’ and ‘Tales Of The Faded City’, dropping down the BPMs for some funky numbers. Both have nice melody lines; the first uses a vocal drop-in, while the other is more sparse, using FX. ‘Birdbrook Rain’ from The Fear of Stopping EP, another excellent, sparse, slow track, with a charming echo-synth line and dusty, low-key pads.
From No More Words EP
‘What Science Doesn’t Know’
This is a beautiful bongo-infused Detroit beatdown track. Also make sure to check out the track ‘No More Words’
COLLABORATIONS
Pickton’s collaborative work spans five groups; there are no credits for any work under Eco Tourist; this is only Mark Broom and Dave Hill, with guests Ed Handley and Andy Turner (Plaid). Nine Machines is Steve Picton and Mark Broom writing one track titled ‘G’ for a Plug Research compilation.
The work under Allstars, The Ted Howler Rhythm Combo, and Nine Machines is worth mentioning.
ALLSTARS
To have six incredible artists all contributing to ‘Byters’ and for it to sound like this is impressive, showing total respect for one another and utmost professionalism.
They were all writing their own unique styles of techno; you have strong producers with distinct production techniques, all contributing, and there is only enhancement between these different elements, allowing each artist’s character to come through without overpowering the others’ input. If you listen closely, those different elements will become clear as to who is behind them.
I immensely enjoy this track.
Byters
THE TED HOWLER RHYTHM COMBO
Three stylish downtempo tracks from Steve Pickton, Dave Hill and Mark Broom.
Crusader (Halberd Mix)
A lovely guitar melody with two other harmonious melody lines: one in a low pitch, the other higher. I really hoped they would make more under this alias.
Fantastic pieces.
NINE MACHINES
Finally, I am going to add ‘G’ from the Plug Research Development compilation of 1997. The rhythm is a Waltz, and the main beat is slightly off, as if it is a little heavy-footed slipping off the designated mark. Sublime.
‘G’
INTELLIGENT DANCE MUSIC
It is in his early works, particularly his pieces on labels such as B12, Likemind, Mo Wax Excursions, Op-Art, Otherworld Recordings, Peacefrog, Pure Plastic, and Time Is Right, that his creativity is at its most captivating.
At the epicentre of the early ’90s electronic music expansion: a period where numerous artists wrote music that became known as Intelligent Dance Music, IDM, the word ‘Intelligent’ being taken from WARP’s Artificial Intelligence series. It is fine-tuned, incredible music, beautiful in mood and gorgeous in string compositions: done with a lot of thought and patience, not just slung together; equally music to dance freely to and music that makes you contemplate deeply. The word ‘Intelligent’ has been criticised; I am not sure I agree with the critique. I find that this music reflects a substantially higher level of thought and quality in creative production.
STASIS
In 1993, a joint album between Mike Golding, Steve Rutter (Redcell), and Pickton as Stasis was released Redcell : Stasis
His first release showed his undeniable talent, and from the outset, there is no denying he is a class act. Seven tracks from Stasis, in which the first four tracks were taken and B12 released ‘Point Of No Return EP’
These productions were most certainly influenced by the sound emanating from Detroit. Even though this is techno, there is a gentler approach to the genre in his compositions, richly layered with beautiful, intricate percussion programming, deep basslines, otherworldly sounds with minor- and major-key workouts, and a nice use of the 303, keeping the music inspiring, firmly futuristic, and one of a number leading the pack. Not one bad track on this split album between Redcell and Stasis. Phenomenal Detroit-infused techno, in places, a darker-feeling atmosphere, but predominantly full of emotion that instantly grabs you and does not let go.
You can listen to the whole album below. Stasis starts at 24:10.
Flawless creativity.
Likemind 01, another one that falls into the category of faultless: a split EP with elusive Nurmad Jusset, Nuron, and Stasis. I will discuss Nurmad further in his dedicated piece.
Artifax
An overall aquatic feel with its opening melody and chords, its bubbling, echoing, phasing acid line, the cowbells, and the beautiful violin line accompaniment. This EP also contains his well-known ‘Funky Purple Hotpants From The Planet Disco’ and an interesting track, ‘Belters Theme’: a beatless track with low-pitched keys and higher-volume, metallic, echoing sounds reminiscent of bells.
Circuit Funk. Space-themed futuristic funk with those Likemind collective influences filtering through. Not a moan, but rather a pleasing praise, which adds to the richness of this EP and to why this is one of his best.
Whilst quirky, the EP is a pleasure for the ears throughout. Love Mnemic Image, especially the bassline. Hard to choose, at a push it is ‘Presence’ for me, heavenly techno funk shuffle.
Disco 4000 is a stunning two-track EP. I have embedded both, as I cannot choose between them.
‘Disco 400 (Witness The Future)’
Emotive chords and voice add to the heavenly feeling of this beautiful techno piece, making you feel far away from the reality of this unjust world.
‘So-Lar’
A percussive, heavy, layered track with sine wave modulation on the melody line.
‘Inspiration’, his first solo album, was released two years into his music career and is really quite something. Space-themed, futuristic, emotive, layered techno-funk. Equal amounts of low and high-pitched atmospheric melody lines, bringing about thoughtfulness and catching your heart in all the right ways.
It is the whole album embedded. Enjoy.
His second and final album Fromtheoldtothenew is different in that it takes on a sound influenced by jazz and hip-hop; an unusual techno-jazz vibe is at work. This is a fascinating album, a downbeat, downtempo affair with Latin American percussion influences; in fact, it encompasses many jazz styles reminiscent of the EP on Mo Wax. Here, though, it is more experimental.
‘Moody Ol’Teacher’
Also, check out this number on Pure Plastic and his exclusive track ‘Express’ for this album in 1998.
For an album that released a number of his hard-to-find production works, look no further than his compilation ‘Past Movements’.
THE OTHER WORLD COLLECTIVE
Only one release under this name, I adore Artifical World EP in its entirety. I am unsure of the story behind the production, but if others were involved, it is a credit to them all. My point here is that it is outstanding.
In its whole - Enjoy. The 2.05 96 BPM Atoms Answer at the end of side two is so lovely.
PHENOMYNA
‘Unexplained’ Detroit-influenced, reflective, and melodic mix of IDM, techno, and ambient, with a more gentle use of percussion and that ever-so-iconic B12 sound. It is worth noting that six tracks were sourced and remixed, and that two 12-inch releases were created, titled 5.1 and 5.2.
5.1
In its entirety. At 6.42, Earthfall (Explained By Nuron), boy, this is special.
5.2
Into The Other World (Explained By Black Dog Productions)
Passion (Explained By As One)
Got The Urge (Explained By Stasis)
Incredible interpretations, in fact, both EPs are. This shows just how focused and thoughtful these individuals were, and that they had a tremendous amount of respect for one another: to produce at this level on others’ work, to take this amount of care, is truly something to take inspiration from and forever cherish, but, more importantly, to start bringing this work ethic back.
PAUL W. TEEBROOKE
Otherworld Recordings 002, ‘21346’ is so good, yet so unusual and really difficult to explain, a multi-layered track. It has a heavy thud beat, with a modulated sine wave, and a layered tambourine sound that accompanies it, used as a beat, pulsating chords throughout, and an otherworldly melody line make this a compelling track.
‘21346’
‘Thing 1’, which I must not forget.
Op-ART 4, Steve, Ernie Wernop, Eddie Gilbert, and Jack Esch, with their innovative, contemporary approach to electronic funk. Breakbeat, leaning more on the funk side. Nova, with its melancholy med-high pitch melody line and high to low, pitched chord drop-ins and varied volume, whilst blue light is straightforward, nicely layered techno, percussive, rich and tight, yet the melody is very infectious, with some nicely placed chord drop-ins; it has this swing-type thing going on: this push and pull effect, which makes this one for peak-time shuffling.
‘Nova’
Mo Wax Excursions Four downtempo tracks blending Detroit techno soul with varied percussion and beats from breaks and hip hop. Exquisite pieces. Listen to the whole EP.
‘Altares’
Until the next one, I will leave you with my favourite from Steve on Likethemes. Ah, indeed, ‘Monolife’, a moody, low and high-pitched key, Detroit-flavoured piece from 1995 that creates a great deal of thought, whilst cocooning you in a wall of sound of unadulterated emotive beauty. Inspiring. Techno as it is meant to be: with soul.
‘Monolife’
Steve was around those at the time of the 90’s UK techno pioneers, and though you can hear influences of these in his music, self-teaching music theory, his music to me is more about his love for all types of music and his want to produce something unique, and this he did in abundance.
There are very few artists whose music provokes emotions like I feel with Mr Pickton’s pieces, making you think so deeply, connecting you to things so personal, held within, removing negativity, allowing growth, which tells me that his music directly connects at the right place from the start.
Some artists do this, all of whom will be mentioned during the Foundations work; Steve is undoubtedly one of them. This takes considerable skill and effort.
He is simply one of the best.
Not all electronic music is equal, far from it. IDM allowed productions with more thoughtfulness, unique creative ideas, and complex productions to be listed separately from other styles with less finesse at that time. This was not a bad thing. Something is very wrong with the current state of music, and it’s being merged into one big mess with a programmed direction and no quality control, making quality unable to survive in a market that is programmed music for the masses under one name - EDM. I will even go so far as to say it is being done on purpose, and I worry about what this is doing to younger people’s minds.
Sensibility must return, and that means artists come back down to earth, from the heart, back to the people and away from corporate takeover, or, for that matter, any other interests that will not benefit creative freedom; think of the genre influences in the music production of Jazz, Funk. Blues et cetera: think quality and emotion, and more importantly, think of the soul.
Peace and love.
Stef