Deep within the industrial shadows of Hamburg, Helena Hauff and F#X revive their Black Sites project with ‘R4’—the first release under that name in over a decade and their inaugural full-length for Berlin’s iconic Tresor Records. This isn't just a comeback but a continuation of a journey that persisted even after the listening had ceased.
Recorded live to tape and free from any gloss, the album proudly showcases its rawness. There are no overdubs or edits—just circuitry, instinct, and two artists relying on their intuition. This isn't about reminiscing over analogue; it's embodying the practice itself. It’s like techno performed with unrefined hands. Hauff and F#X don’t merely cite punk energy—they embody it, in rhythm, tone, and defiance. Instead of forcing BPMs to comply, they shift the dynamics: the heaviest tracks often move the slowest, while in other pieces, speed is infused with subtlety.
Clash had a brief conversation with the two Golden Pudel residents about everything related to Black Sites.
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How did Black Sites originate, what led to its hiatus, and what has prompted your return after a decade? I understand you are both residents at Golden Pudel. Was that where you seriously considered collaborating?
K: As young musicians eager to create, we met at the Pudel and realized we shared many common interests. We enjoyed the same music and had a similar desire to experiment with machines.
H: We spent several years working together in the studio until we suddenly stopped. It was an incredibly intense period, and we needed a break to breathe and focus on our own projects. However, there were unspoken things and unfinished ideas that felt like they still needed exploration. The project never felt complete, and there was a sense that it was still waiting to be fully expressed.
Do you feel that your approach to the project has changed this time, given that you're releasing a full album for the first time and considering both of your personal and musical growths during the hiatus?
K: We gathered to listen to some old, unreleased, and unfinished tracks and realized we had begun something truly unique. We felt inspired again, and that’s when we decided to create an album.
H: We had the chance to collaborate with Tresor, which likely wouldn’t have been possible 15 years ago. We started off from a good place, with opportunities already available.
The concept of ‘punk ethos’ frequently arises in discussions about your work, and it’s evident in the album's focus on creation over refinement. Where does this ethos originate? I read that Helena, while DJing at Golden Pudel during its nightly operation, often incorporated punk and psychedelic rock to maintain an intuitive approach, adapting her DJing style based on the night. Was this where you absorbed punk culture, leading to an ethos that influences your work, from solely using hardware and vinyl DJing to your fashion sense and lifestyle choices?
H: I don’t see myself as a punk, and I wouldn’t say that my work is particularly punk. I appreciate the aesthetic, admire Vivienne Westwood, enjoy bands like Wire and The Fall, and love the energy of punk music. I also cherish simplicity and naivety in music. I value counterculture because we need individuals challenging the mainstream for societal growth. However, I wouldn’t label myself or my work as punk.
In the past ten years, have you integrated any new hardware into your creative process, or do you prefer older equipment?
H: No, I’m still using all the old stuff.
K: I'm quite open to experimenting with new technology. However, tactile interaction is crucial for me. When I can control a machine directly, I’m more inclined to explore further.
Are there any future plans for the project? Is there a specific direction you hope to take it?
Honestly, we’re not certain yet.
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‘R4’ is now available.
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