Moritz von Oswald of Basic Channel. He actually wasn't there that night. The other one was.

Honest Jon's presents Sleeparchive, Mark Ernestus, DJ Pete
Thursday 7th May 2009
Plastic People, Shoreditch, London

Having a bunch of Germans turn up and remind us of how great techno still is, within the confines of what is arguably one of the best sound systems in London was just something I couldn't afford to miss. You know, it almost seems a novelty now to go out and listen to some "proper" techno. Not that I ever go out at all. But the word amongst the London massive had spread and by the time I turn up just after opening, the club is filled with surly looking males.

Initially creaky but soon settling into an inventive mix of piercing rhythmic numbers, DJ Pete's first set ran through the style folders with consummate ease. From overtly melodic abuse of the 303 to bassline-rich Chicago house. The highlight for me was an extended re-jig of Surgeon's 'Whose bad hands are these'.

Sleeparchive confirmed my worst suspicions; his live set was as dull as his records. I never understood the appeal of this particular Berliner. Safe, by-the-numbers, mid-tempo techno that sounded like the sort of demo tunes that you'd get with audio composition software. Comparisons to early Plastikman are valid, needless to say those tunes came out way back in 1993....I've moved on since then.

I tried to hold out for Mark Ernestus' usually reliable 45's set (he's one half of the massively influential Basic Channel duo), but my patience was severely tested by DJ Pete's second appearance of the night. By ditching their own lineage and embracing South London's greatest musical contribution: dubstep. The genre's feverous grip on Berlin is evident, step into any dance record store and prime spot is given to the bloody thing.

But to hear it in Plastic People in 2009 felt like I was stuck in some sort of weird time trap. It wasn't even the interesting stuff either (the 5% that is actually worth anything). No, it was the really rubbish stuff; the ones where basslines wobble and do little else and the ones that sound dangerously close to digi-dub.

I bet Mark played dancehall and it was really good.