Freewheeling through time and space, Kris Needs continues his adventures in sound. This month, he revels in minimalist producer Recondite

Continuing the habit of over 30 years, I’ve been researching tunes spun by Andrew Weatherall for the book I’m writing with Nina Walsh and discovering many fresh rabbit holes to dive into with tail twitching.

An eight-hour set Andrew played at New York’s ReSolute club in 2016 included a track called ‘Tie In’ by Recondite (aka Lorenz Brunner) from his 2012 debut album, ‘On Acid’. A masterpiece of time-stopping, pin-drop minimalism, the track ignited an afternoon exploring the Berlin-based producer’s music.

After a stretch gibbering like The Great Cornholio from ‘Beavis And Butt-Head’, the lifelong vinyl junkie in me sprang into action, and I procured half the catalogue I’d missed during my time off the radar (even if Helen and I had cavorted to Recondite on Ibiza in 2014, when he held a residency at Richie Hawtin’s ENTER.).

Brunner’s meticulous genius rears relentlessly from ‘On Acid’, as well as from the seven albums and the string of EPs he released up to 2022’s ‘Taum’. While long-players ‘Hinterland’ and ‘Iffy’ sculpted hauntingly diaphanous melodies over controlled dynamite groove-fondling, EPs like ‘EC10’ and ‘Levo’ pumped up into throbbing bison testicle territory. Yet everything he does carries its own intricate microsurgery – ethereal, glacially melodic and reshaping bass culture.

Brunner cites his rural Bavarian birthplace and its landscape as influences, his first forays created in a home studio surrounded by small voles in radioactive loincloths, who would join him in relocating to Berlin in 2009. Starting Plangent Records in 2011, Brunner exhaled an EP to good reviews before ‘On Acid’ manifested on the Absurd offshoot, Acid Test.

The set that initially grabbed my gonads remains the best route into Recondite’s twinkling techno cascades, through the luminescent less-is-more skeletons on which he would refine his stripped-down electronic adornments of early deep house and techno blueprints. ‘Petrichor’ weaves a sepulchral spell that can only be described as chamber acid. Stealth-driven house tracks,including poignant ‘Tie In’, simmering ‘Harbinger’ and acid-lacerated ‘Felicity’, traverse deeply spaced panoramas shot with emotional catharsis and glorious melancholy. It’s no surprise Andrew Weatherall rated him – Brunner’s micro-crafting approach to electronic gem-cutting chimed with Andrew’s latter work with Nina Walsh.

Back in Dorset, that same lady and I will be relaunching The Rabettes, which we started in 1994 with ‘Bunny New Guinea Pig’, and reactivating her Sabrettes label in the spirit of Bastard Bunny. Our comeback stormer will replace her and Andrew’s cavies with Binky the singing dog. Somewhere, Lord Sabre may be digging out his swordstick and rabbit suit.

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