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When Blaktroniks played recently in the former East Germany, a neo-Nazi turned up at a show -- a not uncommon sight in the club scene there. The guy didn't cause any trouble, but he did drink himself into a stupor and pass out -- prompting the promoter and Blaktroniks' Eddie Smith and Badi Malik, both African-American, to carry the skinhead to a nearby bus shelter to sleep it off.
The event runs from noon to midnight and features Massive Attack's Daddy G, Fila Brazillia's Steve Cobb, Mixmaster Morris, the Different Drummer Sound System, and more
The gesture, while broad-minded, wasn't totally altruistic. "The skins have [clubs] spooked over there," says Smith. "They're like Hell's Angels. So even though he was messed up, we couldn't just dump him anywhere." The incident provides a glimpse at the strange path of Blaktroniks' career -- one that winds through international waterways, black musical history, and extensive laptop circuitry.
Plenty of Bay Area dance music artists have launched careers abroad -- call it the "Big in Japan" syndrome -- and Blaktroniks is no exception, having garnered fervent support internationally while capturing little attention here at home. Active since 1996, the duo has put out four albums, three of them self-released. The most recent, Seduction at 33 1/3, appeared this April on Moving Records, a Heidelberg imprint set up by scene maven Magnus Miller to issue Blaktroniks' output. (Miller chose the label's moniker because, he says, "Blaktroniks' music is some of the most moving music we know.") The German connection testifies to a flurry of interest in Europe: The crew recently returned from a dozen dates in Germany and Austria, where its recordings were championed by leading music magazines such as Spexand De:Bug. The Teutonic exposure isn't surprising, given that the Blaktroniks sound -- a fusion of grainy minimal techno, R&B, hip hop, spoken word, and polyrhythmic funk -- exemplifies the kind of hybrid soul that German audiences crave. Yet there's been virtually no English-language press dedicated to the group, and many Bay Area electronic music insiders know little about Blaktroniks beyond a fleeting recognition of the name.
Not surprisingly, Blaktroniks didn't intend to sell records in the Bay Area at first. "When we sat in our office in '96, we decided that we were going to take it straight [to Europe], and not try it here," Smith recalls. "It's harder to bring it straight to the people here than to bring it straight to the people there."
Having been introduced by mutual friends in the mid-'90s, the pair formed a business plan based upon the frustrations they'd experienced in the music world. Malik, a software engineer and Minneapolis transplant, recalls presenting a project to artists and executives in L.A. and being told that he needed "to learn a thing or two about melody."
"I realized that they had no clue what this type of music was about," he says.
Smith, a barber by trade, had been experimenting with electronic music and hip hop production since 1993. In that same period, he'd worked as a choreographer, a role that helped him make plenty of insider connections -- and left him leery of the expectations of labels, promoters, and even listeners. "Here in the States, or in San Francisco, it's better to push yourself as a rapper and just do a rap album, or R&B, and fit into a bracket, a stereotype, a box," he says. "But then you've got to compete against everybody else that's the same way. And then you've got to sound like somebody that people already like in order to succeed."
Blaktroniks' version of electronic music doesn't fit into this model. Early albums such as 1997's Process of Illuminationdisplay elements of robotic electro, steely techno, and rough-edged drum 'n' bass, with counterpoint melodies that bend dance music's linear thrust. Like Illumination, 1997's Return of the Afronaut also projects the group's mission through the twin lenses of technology and black consciousness: The liner notes explain in purposely skewed text that Blaktroniks is "the branch of physics that deals with the behavior of free blaktrons, blaktrons being the darkest known huemans, constituents of all huemans." The recent effort, Seduction at 33 1/3, pushes these musical ideas to new heights. Opening with "Fais Moi Fremir," a fusion of smooth R&B and avant-garde glitch textures, the album veers from the burnished-aluminum feel of underground dance music to the brisk skip of hip hop. While the lush atmospherics of "Serenade" wouldn't be out of place on KISS-FM, the convoluted rhythms of "Teknik Cleansing" could daunt all but the most adventurous of dancers.
"Our albums kind of sound like compilation albums," admits Smith, "but we produced every track on them."
With such a divergent sound, Blaktroniks felt it needed an alternative path to the public, one rooted less in local presence than in what Smith calls "telepresence," the process of using technology to bridge physical distances. After placing samples on Malik's Web site (www.dykon.com), the pair gained greater notoriety by posting clips on MP3.com. In 1999 Malik received an e-mail from Magnus Miller, who runs several independent record labels in Heidelberg. Excited about what he'd heard online -- "I was completely flashed" is how he phrases it -- Miller proposed putting out Blaktroniks' records. Before agreeing, though, Malik wanted to hear what Miller had to offer.
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