Call Super never takes the safe road. The London but now Berlin based DJ and musician has carved out his own place in the landscape of electronic music. He dares to challenge his audiences to the fullest with brittle percussive chaos, off-kilter bass lines and haunted, esoteric melodies. His strength most definitely lies in his variety, both playing and
producing music that draws from early Perlon bliss and bonecrushingmissiletechno. After producing one of the standout LPs of 2014 (the critically acclaimed Suzi Ecto), cooking up a Dekmantel Podcast and performing at last year’s festival, Call Super now makes his Dekmantel Records debut.
Nervous Sex Traffic’s title gets you off on the wrong foot. A nineminute long house odyssey, Call Super wraps your head around brain warming chord progressions and an organic subbass that keeps on giving. Subtle, progressive, mindblowing. Mount Grace on the other hand, draws from a clanking, industrial sound palette. Endlessly deep, spacious and dubheavy, this electro inspired excursion teases the bass synth in slowly, but starts to go wild as the music builds up.
supported by 12 fans who also own “Nervous Sex Traffic”
A collaborative work shines brightest when its stars align, blend, and stand out on their own. The sharpest ears will hear elements of each artist at different times. That rush of air sound on "Inkjet" sounds very much like Beatrice Dillon. While Call Super's signature tones make an appearance on "Fluo" at 1:45 and beyond. The clarinet playing on "Fluo" must be Call Super's father, whose work can be heard on Call Super's stellar album "Arpo." Shout out to Hessle for the unrivaled consistency. Edward