In Argentina’s far-flung techno scene, Juan Pablo Pfirter stands out from the pack. While producers like Dilo, Franco Cinelli and Gurtz prefer minimal’s deep and lean variety, Pfirter likes to pull out the big guns. His track “Mi Auto” was a favorite last summer among jocks like Ritchie Hawtin and Adam Beyer, most likely for its relentlessly squealing breakdown. On his second release for Stockholm Ltd., Pfirter sticks to the same formula, delivering three raucous minimal bangers.
“Good Luck EP” sports a badass, no bullshit kind of vibe arising from its mixture of contemporary techno sounds and old school rave indulgence. The steely textures all feel very in vogue, whereas the hook is unfashionably raw, juxtaposing minor chord arpeggios with a panning digital squawk. The vibe is equally balls-out on “Elefantator,” a track that boasts urgent drums, a rolling bassline and a massive, dizzying synth, though to relatively lackluster effect. Fittingly, “Bad Luck” contends with “Good Luck” to be the choice track of the EP; laboratory beeps, well executed delay and a clever break down make this a one simple but diverting minimal number that could work in a room of any size. For what its worth, “Good Luck EP” is not exactly provocative or forward thinking, but it’s a fun release, and one that’s sure to galvanize crowds the same way “Mi Auto” did. Much like Brazilian duo Click Box, Pfirter champions unpretentious techno refreshingly distant from the trends of European dance music.
“error opening file”
(great release btw)
Is it just me or is that soundfine broken?
No samples?!
I had to take it down because there is some problem with the file that I can’t assess right now. It will be back up later tonight.
and sometimes why i wonder why i gave up on “minimal” movement…
oh…no…wait. i don’t.
i give everything a chance, especially reviews from people who’s tastes i trust, but i just don’t see how this one a) fit in with the rest of the austere of the site and b) why this record was even made.
very not my style. pass.
“i just don’t see how this one a) fit in with the rest of the austere of the site and b) why this record was even made.”
a bit dramatic, don’t you think?
story of my life, will…story of my life.
lwe historically is on the cusp on fantastic house and techno, and to slip in a mediocre (in my eyes) “minimal” (and i’m using the air-quotes in honour of m_nus) record seems so out of place i’m kind of baffled.
I’d love to weigh in, but I’ll have to wait to hear it first…
austere is not a noun 😉
imHo, the hook of Good Luck– schminimal or whatever– is catchy enough to merit the review on lwe. and though i can’t speak for the editor, he did post this review of his own accord.
mr. lynch points out that the release is “not exactly provocative or forward thinking”
Sarah makes a good point: the reviewer clearly states the positives and negatives of the single. Also, LWE does not exist solely to point out the best music, but also to point out the middleground and take the dross to task.
Now that I’ve listened to it I also have to say that this release is not doing it for me.
On the other hand I really like the simple production technique that some of the south american producers use. The Click Box guys also mentioned in the article made me remember how simple a good and dancable track can be. A base, a hat and a snare with massive bass and some squeaky synth on top. That’s it. Like most producers will tell you, if the base and the bass work, the rest is almost irrelevant.
Even though it might hurt the more brainy ones of the techno and house lovers, it’s usually the most basic tracks that work best on the dancefloor.
This isn’t really up my alley. that being said, it is a lot more soulful than most euro mnml. I also reckon that there is an interesting mix of raw and more polished elements, as Will pointed out. that’s fairly unusual and is a legitimate point of interest , methinks.
good to have more releases like this one. An argentinian in Stkld Lmtd.
Hm Yes This sound was moderately interesting 2 years ago
Uhh well this track is actually 2 years old, I played it back then, really did the trick on a big system phat bass.
I guess this is because now Pfirter is “known” it’s was a strategic decision to re-release this one on an “new” EP.