A pan-pot is a simple, workday knob, given to side-to-side flip-flopping an… Read Full Bio ↴A pan-pot is a simple, workday knob, given to side-to-side flip-flopping and not much else. Pan-Pot, on the other hand, are a brilliant multi-dimensional Berlin duo currently twisting house and techno fans into rapturous fits. In just a few short years, Pan-Pot—comprised of Tassilo Ippenberger and Thomas Benedix—have developed a dominate presence amongst the top tier of electronic dance music, with an ascension paralleling the rise of their native label, mobilee records.
After booking Anja Schneider for an infamously ill-fated party in 2005, the duo established a connection with Schneider’s then recently formed imprint and within weeks had released the Popy and Caste EP on mobilee—their first release and the label’s second. Graduates of Berlin’s SAE, 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 their career, however, was the release of their debut artist album, Pan-O-Rama. The first artist album to be released on mobilee, the aptly named Pan-O-Rama provided a stunning 360-degree tour of techno at its most twisted, balancing somber atmospherics with an impeccable lightness of touch. Serving as a playground for their experimental leanings, the album was a definitive statement of Pan-Pot’s past, present, and future: an affirmation of the possibility of a wider sonic spectrum that suggested a move towards stripped-down techno while simultaneously hinting towards a newly developed sense of melody.
When not in the studio writing original material or putting their unique spin on tracks by a myriad of artists, the bad-boys of impassioned, pitch-black techno can be found on the road touring at a near ceaseless level. Their dance floor oriented DJ sets see them playing back to back and are unconstrained by boundaries as they effortlessly transition between techno, house and everything in between, demonstrating an immaculate understanding of the audience’s wants and needs.
Their willingness to expand the components of their productions while staying firmly rooted in what they do best—colossal, haunting techno tracks overflowing with noise and static, throbbing bass lines, and epic builds that manage to be both tasteful and restrained—is only part of what differentiates Pan-Pot from the hordes of other techno producers currently flooding the airwaves. They may name themselves after a piece of gear, but Pan-Pot’s music is ultimately about moving bodies, not knobs, all the while giving way to an unprecedented degree of dynamism on dance floors around the world.
After booking Anja Schneider for an infamously ill-fated party in 2005, the duo established a connection with Schneider’s then recently formed imprint and within weeks had released the Popy and Caste EP on mobilee—their first release and the label’s second. Graduates of Berlin’s SAE, 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 their career, however, was the release of their debut artist album, Pan-O-Rama. The first artist album to be released on mobilee, the aptly named Pan-O-Rama provided a stunning 360-degree tour of techno at its most twisted, balancing somber atmospherics with an impeccable lightness of touch. Serving as a playground for their experimental leanings, the album was a definitive statement of Pan-Pot’s past, present, and future: an affirmation of the possibility of a wider sonic spectrum that suggested a move towards stripped-down techno while simultaneously hinting towards a newly developed sense of melody.
When not in the studio writing original material or putting their unique spin on tracks by a myriad of artists, the bad-boys of impassioned, pitch-black techno can be found on the road touring at a near ceaseless level. Their dance floor oriented DJ sets see them playing back to back and are unconstrained by boundaries as they effortlessly transition between techno, house and everything in between, demonstrating an immaculate understanding of the audience’s wants and needs.
Their willingness to expand the components of their productions while staying firmly rooted in what they do best—colossal, haunting techno tracks overflowing with noise and static, throbbing bass lines, and epic builds that manage to be both tasteful and restrained—is only part of what differentiates Pan-Pot from the hordes of other techno producers currently flooding the airwaves. They may name themselves after a piece of gear, but Pan-Pot’s music is ultimately about moving bodies, not knobs, all the while giving way to an unprecedented degree of dynamism on dance floors around the world.
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@Jonesy3420
If you're taking zee pizz - jog on, but if it was a serious question.....
The drugs were much better - you almost always got what you paid for, The music was new, styles of clothing changed on a daily basis [ yes I did wear flares [2nd time around]...embarrassing ],
it seemed as though a new club night started up every week, You could not buy enough tracks - even if you could afford them at around £5 per 12" EP, there were so many you wanted [ the guys at Eastern Bloc sorted me out though....]
Dancing next to ravers from Norway in the hacienda telling me "you're so fucking lucky" blew my mind - I knew we were the centre of the house music universe at that time.
Technics and only those would do, synths were all analogue, we had just got samplers and sequencers,
I saw Gerald Simpson perform "voodoo-ray" live at the academy in Manchester.....
it was a crazy time full of crazy people.....but so much fun.......I couldn't write it all down if I tried, some things just defy description, especially if they occurred in a speed/ecstacy /Acid haze....as most weekends were......
there's a tiny part of my brain that won't let go [ at 44yrs ]...won't let me get 'too old' to rock to amazing tracks....
there's lots of new talent about, its great to see the kids all finding the good stuff - keeping the music alive....
@stijnvolders2732
This track is INSANE!! Multiple eargasms :-D
@Jonesy3420
As an 'old head' I can tell you that some tracks pass you by...some you like, some you love..but every now and then a track comes along and you know it will be with you, in your head forever, it ticks all the boxes, it's too big, too massive to pass you by, or be forgotten...awesome work stephan....just epic, thanks.......
@lunaticz0r
+madtrax EXACTLY this....This song is just....it goes beyond!
@RunFaster011
What was it like in the old days?
@Jonesy3420
If you're taking zee pizz - jog on, but if it was a serious question.....
The drugs were much better - you almost always got what you paid for, The music was new, styles of clothing changed on a daily basis [ yes I did wear flares [2nd time around]...embarrassing ],
it seemed as though a new club night started up every week, You could not buy enough tracks - even if you could afford them at around £5 per 12" EP, there were so many you wanted [ the guys at Eastern Bloc sorted me out though....]
Dancing next to ravers from Norway in the hacienda telling me "you're so fucking lucky" blew my mind - I knew we were the centre of the house music universe at that time.
Technics and only those would do, synths were all analogue, we had just got samplers and sequencers,
I saw Gerald Simpson perform "voodoo-ray" live at the academy in Manchester.....
it was a crazy time full of crazy people.....but so much fun.......I couldn't write it all down if I tried, some things just defy description, especially if they occurred in a speed/ecstacy /Acid haze....as most weekends were......
there's a tiny part of my brain that won't let go [ at 44yrs ]...won't let me get 'too old' to rock to amazing tracks....
there's lots of new talent about, its great to see the kids all finding the good stuff - keeping the music alive....
@RunFaster011
madtrax
Right on dude, thanks for sharing some of those memories with me. I really enjoy learning and hearing about the history behind electronic music because there are so many pioneers and different styles as you said that came before my time. I feel like with the recent commercial success of dance music I've become more inclined to learn and listen to the more "underground" past.
Any recommendations for songs/musicians I should check out?
@Jonesy3420
.......
@bredaoshea9159
This is what the future sounds like
@KimiKaze23
2021 now. I'll be back in 2031.
@Knight_Of_Eleum_Loyce
Indeed. Sadly the world is far behind in terms of LOOKING futuristic. At this rate what futuristic cyberpunk movies look like will be our reality a long time from now, if at all. It be 2121 before we start looking like what we see in movies like Minority Report and Blade Runner 2049. It's sad. The 2021 I imagine when I was a kid was way cooler than what we have now.