Dutchman Stefan Robbers can be counted among the true pioneers of European techno. He first began releasing music 33 years ago, via Saskia Slegers’ uncompromising imprint, DJAX-UP Beats, under the alias Terrace. His latest musical missive is the Thermionic E.P., on Jimpster / Freerange’s electronic offshoot, Cyphon Recordings. The 4 tracks find him still delivering Detroit-leaning tunes. Sleek with Sci-Fi strings and cavorting to complex Transmat-esque rhythms. Writhing to wiggin acidic twists, and serrated by urgent, repetitive synth riffs. What sounds like a TR-808 whip crack and boom driving the pieces in places – so also echoing that point in time when electro evolved into something else. 

A man of multiple monikers – Acid Junkies, Aerosphere, Alemo, A Rhythm Addict, Board Of Wisdom, Con Man, Florence, Planalto, Poltering Rhythm Traxx, R.E.C., Robber Van Moll, Sierra Romeo – and, many, many releases, I was introduced to Stefan’s work by the legendary Covent Garden store, FatCat Records, and the iconic DJ, Andrew Weatherall. The “leftfield” techno of tracks such as Florence’s Analogue Expressions – characterised by its instantly recognisable wobbly wonky melody and creatively convoluted b-line – and Terrace’s Seventh City – especially the mad mutating loops of its Filtered Dub* – were staples of Mr. Weatherall’s sets at his Sabresonic soirees, held in the dungeon-like Happy Jax, beneath London Bridge. 

However, it’s not been all big room bangers for Meneer Robbers. Together with close friend and collaborator, Wladimir “M” Manshanden, in 1991 he launched the label, Eevo Lute Muzique, as an outlet for productions that weren’t necessarily aimed directly at a dancefloor. It’s this imprint’s more downtempo output, that, Chez Dr. Rob, I must confess, 3 decades later, still gets regular spins…

Wladimir M – Planet E – 1991

Wladimir’s Planet E = Earth = Evil first appeared in a 7 and a half minute mix, on an E.P. licensed to Carl Craig’s then fledgling label, coincidently also called Planet E.** This was the imprint’s second release. With its roots in performance art, Planet E is a powerful and unique piece. Musically, a combination of computerised contrabass and a rattling breakbeat, it’s “trip hop” way, way, before Mixmag journalist, Andy Pemberton, coined the term. 

Bold, brave, and bleak, Wladimir’s spoken prose plots “the rise and fall of mankind” via a brainwashed consumerist cycle of disposability and disappointment. Where “a desire to make money rules everything, and ruins everything.” Predicting a “World War III between the rich and the poor”, his commentary on corporate greed, profit over people, couldn’t be more prescient, and should be seen as a direct descendent of The Last Poets’ Mean Machine. Just how long have we been playing this game? 

Planet E was re-recorded in 1993, for a mini-LP called Life A Short Story. Now over 10 minutes long, Wladimir’s poetry is simultaneously translated into French by the mysterious duo of Anka C and Judith B, while Clyde Stubblefield struts his stuff. It’s this that’s perhaps the definitive, must-have, version, but the song was also remixed by Max404, and pressed on 45, as Planet 95, care of Ashley Beedle’s imprint, Afro Art. The drums in this take are a lot, lot looser, and live sounding. Bringing the jazz to the fore. 

Wladimir’s equally essential Sex & Lies, from 1994, does something similar, but switches out James Brown for Young Holt Unlimited’s Wah Wah Man. Employing the same break that The Orb builit their remix of Primal Scream’s Higher Than The Sun on. 

Stefan Robbers – Foreign Dimensions – 1993

This is a bit of cheat, since Stefan’s Foreign Dimensions didn’t surface on Eevo Lute until 2020***, instead, it was initially released by Belgian label, Buzz, in 1993. Included on the brilliant, bar-raising compilation, Virtualsex**** I suppose this might be described as “ambient techno”, despite there being drums and definite beat, all be it one a little more abstract that a strict 4 /4. The machines tick-tocking, clicking and whirring, stirring a serene fractured funk. Infused with ethereal emissions, it features this sound somewhere between an ancient reed or chant. In hindsight, I’m now sure that this was some sort of preset, since its hypnotising presence is felt in tracks by Balil, Centuras, Frank de Wulf, Richard H. Kirk… Chilled, and introspection-inducing its a slow motion score, perfect for a moonwalk, or stroll along a strange alien shore. 

David Caron – Dawn – 1994

David Caron’s 1994 E.P., Dawn, contains 2 classics. Soaked in sad strings and peppered with poignant piano, Fantasy On A Fantasy On A… slo-mo rolls on a loop of dusty old jazz. Something that sounds very similar to Sun Ra’s Twin Stars Of Thence – the rhythm rifled by Japan’s Major Force for their Mo Wax masterpiece, The Time Has Come.*****

In comparison, A Quiet Passing is far less “organic”. Closer to, say, Cluster’s peaceful, pastoral kosmische. Almost beatless, its sequences spinning, tumbling across tantric tundra, encouraging an exploration of inner space. 

2000&One – Journey To Silence – 1994

Exclusive to the Eevo Lute Muzique compilation / label sampler, Agenda 22, the icy synths are what make 2000&One aka Dylan Hermelyn’s Journey To Silence standout. Sonically similar those on Carl Craig / 69’s Desire, they’re something that Dylan also successfully experimented with as Planet Gong. The use of a wah-wah loop to fortify the funk, also aligns the track with gear like Autechre’s Gang Starr-sampling Lowride. 

Max 404 – Quiddity (Last Visit) – 1995

Erwin van Moll is Max 404. His track Quiddity received 3 “visits”. The first was on 1992’s Recycler E.P.. The second, on the following year’s Agenda 21 compilation. The third and “Last Visit” took place in 1995, and is the one of most interest, since it’s this version of the tune that was a Cafe del Mar / Jose Padilla favourite. Jose even included it in one of his BBC Essential mixes. To be honest, I’m not sure how he got away with spinning it at sunset, as it kinda gives me the creeps, but then I guess it is a song of shadows. With a very moody, dark, muted intro – before the head-nodding boom bap beat hits – its sinister synthesised sighs, industrial creaks and clanks summons a John Carpenter horror score, if hijacked by a seriously stoned B-boy. A mutant giallo groove, I wonder if it was in any way inspired by Carl Craig’s Suspiria. 

Notes 

*The Filtered Dub Of Terrace’s Seventh City is the work of Erik Van Den Broek, who, using the alias Shiver, was responsible for another Weatherall / Sabresonic favourite, the great, grungey Phobos. 

**I’m pretty sure that Carl named his label after the KC Flightt track, Planet E.

***In 2020, Delsin put together two essential comps of Stefan and Wladimir’s early Eevo Lute sides – titled Analogue Expressions and Leaves Fallin’ Recklessly. I think that they’re both easy, and cheap, to find.

****I still have my 3D glasses. 

******Fantasy On A Fantasy On A… was later licensed to Mo Wax’s electronic offshoot, Excursions.

******In 1996, Quiddity (Last Visit) was also licensed to Mo Wax, for the compilation, Headz 2. 

Terrace’s Thermionic E.P. is out now on Cyphon Recordings.