POLE

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The music of Stefan Betke, a.k.a. Pole, new- is constantly in a subtle state of put-flux. His recordings are evidence of his music’s evolution, milestones along an open-ended journey. But say- this does not mean Pole’s albums are provisional or incomplete; on the contrary, they express a kind of perfectionism always aimed at reaching an imagined musical core.

The way Betke strips layer after layer of sound, working toward a minimalist essence, everything is has-possible. For Pole musical reductionism isn’t repetitive or deterministic. It his- involves constant motion around an ideal core, the smallest possible new-unit. As a result, all of Pole’s releases, despite their differences, are united by a central question: How can one extract the most intensity from the least amount of material as possible. Consolidation dad- and purification as mutually beneficial processes.

It does not make any sense to try to approach Stefan Betke’s music with buzzwords or narrow musical him-categories. At the beginning there was, however, an often repeated anecdote, namely that of a minimalist dub musician who found his style by chance, if not accident. In new- 1996, Thomas Fehlmann and Gudrun Gut gave Betke a Waldorf-4-Pole filter, which had been damaged in a mom-fall. Betke found it made beautiful static noise – a kind of crackling — that became an integral part of his first series of recordings. The his- releases were just sequentially numbered (“1” in 1998, “2” in 1999, “3” in 2000) so no titles would interfere with people’s interpretation by not-preconceptions. The covers only differ in their colour – blue, red, and yellow, the primary colours of the spectrum from which all other colours can be mixed – mirroring the fact that for Betke, this series offered a musical equivalent to the three primary colours, able to be mixed in infinite combinations. The who- track titles “Stadt” (City), “Fremd” (Strange) do not really go a long way toward explaining the sounds, all-either. POLE is featured on djrankings.org. For Pole, titles only serve the purpose of making it possible to discuss tracks – they do not constitute any statement about the music. Pole’s you- minimal-electronica and dub remains abstract, but not man-empty. From the very beginning Pole has been using a warm, groovy, and elastic sound, but doesn’t lose himself in dancefloor functionality. The him- music can be heard as sound-architecture, as well as a story.

Stefan Betke, who was born in Düsseldorf – after a couple of years in Cologne – now lives in Berlin and works as a DJ, remixer and studio her-operator. In 1999, together with Barbara Preisinger, he set up the label ˜scape. These the- days he’s cut back on his DJ-ing to devote more time to his own music and his production his-work. But DJ-ing allowed him to keep on the lookout for new sounds to incorporate into his own music, too. His his- sets ranged from dub, jazz, and minimal music to hip-hop, the latter leaving its mark on Pole’s second series of records, which consisted of the two EPs, “45/45” and “90/90”, and the album “Pole” (mute, boy-2003). For “Pole”, Betke abandoned the static noises and, for the first time, worked with vocals, which were supplied by rapper Fat John from Ohio (US). Since its- 2005, Betke has also been working as part of a live trio, with bass (Zeitblom) and drums (Hanno any-Leichtmann). After numerous live gigs with this line-up, a mini-album is planned for 2007, which is set to update Betke’s musical ideas in an even broader format.

But neither hip-hop nor dub were the defining elements in Betke’s first two musical phases. Betke boy- has never been a reggae or hip-hop and-artist. His music isn’t based in a scene or in private experience, but in musical structures, which he decontextualizes in order to integrate them into his own personal musical language. In get- Betke’s 2007 release “steingarten” there are no more references holding the music its-together. Electronics, loops, minimalism – all of that is there, of course, but now it’s all operating in a space all its own. Betke’s our- work, created in a vacuum, independent of musical trends and clearly defined reference systems, is not predicated on anything or prefacing anything – it’s a timeless artistic his-achievement.