Watch here the March edition of PAN-POT's 9 Essentials Mix.
Watch here the February edition of PAN-POT's 9 Essentials Mix.
Pan-Pot - Confronted Remixes EP [SNDST070]
1: Pan-Pot - Confronted (Pan-Pot Basement Remix)
2: Pan-Pot - Confronted (Frazi.er Raw Remix)
3: Pan-Pot - Confronted (Farrago Welcome To Goa Remix)
4: Pan-Pot - Confronted (Pan-Pot Up In The Air Remix)
5: Pan-Pot - Confronted ([ Wex 10 ] Bigroom Remix)
6: Pan-Pot - Confronted (Anfisa Letyago Stranger Remix)
7: Pan-Pot - Confronted (Pan-Pot Paradise Remix)
Ten years ago, Berlin’s Pan-Pot put out the Confronted EP on Mobilee, a landmark release centred around the title track, eleven and a half minutes of slow-burning techno. A decade later, the Second State dons have decided to celebrate their classic track with a reissue that reflects their evolution. Featuring three remixes from Pan-Pot themselves, Tassilo Ippenberger and Thomas Benedix have also recruited four of the scene’s hottest talents for a diverse, comprehensive remix package that reimagines the source material for today’s dancefloors. Opening up the remix package, the “Basement” remix by Pan-Pot adds barking synths and snatches of vocal FX in a murky, offbeat edit of the classic. Glaswegian rising star Frazi.er delivers a “Raw”, lean techno tool with subtle tweaks like the crystalline synths piping through the mix and aggressive, springy bass that charges in mid-way through. Farrago, a Lenske favourite from Belgium, takes the listener on a weirder journey built around bounces, bleeps and discombobulation – it’s by far the most foreign departure on the EP and it lives up to the “Welcome to Goa” title. The “Up In The Air” remix by Pan-Pot removes the pounding kick and turns the mood tribal with steel drums and rubbery, muted basslines. It’s a housier cut well suited to wonky wigouts. French newcomer [ Wex 10 ] takes care of the “Bigroom” remix, ushered in by an outsized, unapologetic kick soon joined by the original’s ominous chords and the cool, detached female vocal. [ Wex 10 ] picks up the BPM, adds some snare rolls and turns in a fist-pumping version for festivals and superclubs. Up-and-comer Anfisa Letyago, from Naples by way of Siberia, sends a rippling acid synth through the mix like lightning in a hi-NRG alternative perfect for trancier sets in her “Stranger” remix. The word “crazy” is set on an electrifying loop, commanding ravers to give in and let go. Closing the remix EP, the “Paradise” remix by Pan-Pot goes in the opposite direction, opening with bird calls and idyllic chiming synths before moving into breaksy territory. Surprising and strangely dreamy, it completes a richly varied remix package that breathes new life into a beloved classic.
It can be the similarities between two people that draw them together, but it’s the differences between them that create something special.
It can be the similarities between two people that draw them together, but it’s the differences between them that create something special. Just like the functional dial that governs the left and right axis of the stereo field, it would be nothing if thosetwo polar opposites failed to meet in the middle. Such is the story of Pan-Pot. In the last decade, Pan-Pot –comprised of Tassilo Ippenberger and Thomas Benedix—have developed a dominate presence in the upper escilion of electronic dance music, with an ascension paralleling very few who have come before or since.
Tassilo and Thomas met at Berlin’s renowned SAE, and were drawn together as they were the only two in their studies who had their sights set on the sound of techno. Their initial musical efforts placed a primacy on integrating electronic experimentation with minimal stylings while simultaneously establishing the ominous, murky sounds that have since become synonymous with their name. The next few years saw the release of a steady stream of original tracks and remixes on both Mobilee and Einmaleins, each demonstrating the duo’s commitment to precise, undulating and kinetic grooves accompanied by a steady expansion of their sonic palate.
The defining moment of Pan-Pot’s career came in 2007 with the release of their debut artist album, Pan-O-Rama. The aptly named long player offered a 360-degree view of techno that was unique, uncompromised and most importantly, their own. The body of work perfectly balanced heavy, peak time club stormers to deeper, more intricate atmospherics and birthed the overground hit “Charly”. More recently “Confronted” and “Captain My Captain” have demonstrated their classic, bold and timeless production style, presenting them as the producers at the top of their game, both sonically and conceptually.Pan-Pot hasn’t gotten to where they are on their productions alone. When the two aren’t spending countless hours in the studio remixing or creating original work, they are relentlessly touring. This is how they have truly gotten to where they are: by touching the writhing, euphoric, dancing seas of bodies at countless gigs every year. Not only do they have an electric vibe to watch, but their grasp and keen understanding of each and every dance floor is unparalleled. Whether it’s an intimate club night or a massive festival like Awakenings, Timewarp, or Creamfields, Pan-Pot know exactly what to do. Unconstrained by boundaries, they traverse techno, house and everything in between with a masters touch.Although their name comes from a basic element of studio equipment, they have rewritten notions of form and function through their own idiosyncratic language and are now stepping completely into a new world with the launch of their own imprint, Second State. Second State is not only a platform for Pan-Pot to release their own music, they are creating a family of like minded artists around them to create, imagine and travel the world with, spreading the Second State vision. It’s a place where all ideas can flow seamlessly. From music and events to art and fashion, it’s a place where there is no ceiling. No limits to what can be achieved or dreamed. Now is the time they are truly coming into their own. Not only as world class artists and performers, but as tastemakers and masters of their own destiny.