In 2015 the Düsseldorf-native musician, producer, remixer and mastering engineer Stefan Betke looks back on a steady 17-year career in abstract electronic club music. In particular, the six albums that he released during this period under the Pole moniker have lastingly shifted the coordinates of electronica.

Beginning with his dark blue debut album “1″ from 1998, Pole laid a foundation of bass, dub and a defective pole filter as the point from which to explore and implement new sonic architectures. Up until the turn of the millennium, these expeditions grew into a trilogy of albums entitled “1″, “2″ and “3″, appearing in the colors blue, red and yellow.

The three albums are now considered milestones of electronic music. “It wasn’t always easy to keep working,” says Pole in hindsight, just prior to the release of “Wald”, which is his first album since 2007. “A common factor in all the releases up until the ‘Steingarten’ album in 2007 was that they all originated in a kind of dub continuum. Melodies have never been my motivation – they were always more peripheral. But across those albums, the reverbs and the bass lines were always related and interlinked with each other. By working that way, I didn’t feel as if I was under any artificial pressure, and I could allow things to end loosely in order to continue my work on the next album.”

This very free way of working was reinforced when Stefan Betke, together with Barbara Preisinger, created the label ˜scape Records in 1999. Soon afterwards he opened his own mastering studio scape-mastering. (The previous Pole records had been released on the Hamburg label Kiff SM, and Betke worked as an engineer for CD mastering and vinyl cutting at Dubplates & Mastering in Berlin until 2000).

˜scape Records developed into a reservoir for contemporarily relevant excursions in dub, electronica and jazz. Numerous releases by Jan Jelinek, Deadbeat, Kit Clayton, Pole and many others – and not least the “Staedtizism” compilation series – continued the progressive narrative of electronic music until 2010, when Preisinger and Betke decided to bring ˜scape Records to its conclusion.

Betke continues to operate the scape studio, in which he has not only produced his own music, but also a considerable number of remixes for a diverse range of artists including Depeche Mode, Louis Armstrong, Roll The Dice, and The Orb feat. Lee Perry. In the same studio, Betke has also mastered countless tracks and albums for CD and vinyl, including film soundtracks for the likes of Wim Wenders.

The fact that over the years Pole has released on four labels – Kiff SM, ˜scape Records, Mute Records and now Pole (the label) – has never harmed the consistency of those releases. Although it was with the now-legendary, defective Waldorf 4-Pole filter that Pole initially realized his signature sound, over the years Pole emerged as a sonic architect who increasingly drew from internal sources – finding inspiration in the city as well as in nature. “The mountains and especially the forest are not only beautiful places that inspire us and clear our minds,” says Pole, “but above all, they are structures that we reinterpret within art, in literature, and of course also in music.”

The urban canyons of New York or the broad avenues of Berlin, the mountains and valleys with their echoes, the meditative forests, the above, below and beyond, as well as the horizon – offset by the verticals of trees and buildings – became a sort of matrix for Pole, within which he could hone a very specific poetry of reverberation with unmatched virtuosity.

Pole increasingly presented this through live performances, in which the elements of improvisation and the erratic development of his own music played an equally constant and central role. Pole performed in small clubs and on the biggest festival stages, sometimes on consecutive days. Next to Basic Channel and Kraftwerk, Pole is one of the examples of German electronic music that has built up a large international fan base. Pole: “I work on my music with patience, without paying heed to trends and fashions. I write my music outside of the timeline of electronic music. This inevitably means that festivals want to book me, but don’t exactly know what contemporary context Pole music actually fits into. So I am fairly often offered the closing concert, which in turn has given me enormous freedom in designing my sets – and I see it in the faces of the people that they obviously really enjoy hearing something different from on the previous evenings.”

With the precision of a structural engineer and the confident intuition of one who can hear sound where previously there was silence, Pole goes to the concrete cellars, open-air stages and nightclubs in his path and busts them open from the inside out. The fact that Steve Reich and Arnold Schoenberg, John Zorn, Arto Lindsay and Fred Frith stand alongside Jamaica and Lee Perry as important influences for the professed minimalist has so far neither hurt the energy-discharging potential of his concerts nor the stringent, reductive simplicity of his albums.

At the same time, Pole has always been open to various shorter and longer term collaborations with other musicians, such as Four Tet, Roll The Dice or the American rapper Fat Jon. In other words: Over the long period of 17 years, Pole has been able to maintain a consistently high level of concentration, not only daring to experiment, but also to release the results – for example, with the 2003 album “Pole”, which was created in collaboration with (and features the vocals of) Fat Jon. For an entire album, it became evident how it can sound when the human voice and Pole’s unique echo chamber enter into a dialogue. In retrospect, this journey away from instrumental music can be viewed as a singular detour. Throughout these various collaborations, Pole has maintained a head-on approach to the discourse at hand – permanently refocusing a restless mind.

In order to keep his own back catalog available and to release new albums without external interference, Stefan Betke founded the Pole label in Berlin in 2011. The Pole albums “1″ – “2″ – “3″ were rereleased, and the trilogy entitled “Waldgeschichten”, featuring new songs (Pole calls his tracks songs), was the first series of Pole music to be released on Pole (the label) in 2011-12. And the latest album “Wald” accordingly appears on Pole.

Above all, it is thus ensured that the Pole narrative will continue to be written and his musical vocabulary will continue to expand – in dub.

Author: Max Dax

 

POLE Discographie:
Solo:
12“ Tanzen Kiff SM/PIAS betke edition/BMG UFA 98
CD/LP 1 Kiff SM/PIAS betke edition/BMG UFA 98
12“ Raum DIN Records betke edition/BMG UFA 98
CD/LP 2 Kiff SM/PIAS betke edition/BMG UFA 99
12“ Rondell Kiff SM/PIAS betke edition/BMG UFA 00
CD/LP 3 Kiff SM/PIAS betke edition/BMG UFA 00
CD/LP R scape betke edition/BMG UFA 01
7“ Mein Freund der Baum/Alexandra pole feat Manou Monika Ent. 02
12“/CD 45/45 Mute scape publishing/ BMG UFA 03
12“/CD 90/90 Mute scape publishing/ BMG UFA 03
CD/LP „pole“ Mute scape publishing/ BMG UFA 03
12“ D.P. Krakau Echochord scape publishing/ BMG UFA 06
CD/LP „steingarten“ ˜scape scape publishing/ BMG UFA 07
3 CD “1 2 3” ˜scape scape publishing 09
12” “Alles Gute/Alles Klar” ˜scape scape publishing 08
12” “waldgeschichten”  pole scape publishing / Mute Songs 11
12” “waldgeschichten 2”  pole scape publishing / Mute Songs 11
12” “waldgeschichten 3”  pole scape publishing / Mute Songs 12
 CD/LP “wald”  pole scape publsihing / Mute Song 15
 

Compilations (excerpts):

Deutscher Funk Caipirinha Musik betke edition/BMG UFA 97
Freestyle Files Studio !K7 betke edition/BMG UFA 98
Pop 2000 EMI Electrola betke edition/BMG UFA 99
Sonar Festival 99 Sonar Music betke edition/BMG UFA 99
Clicks& Cuts Mille Plateaux betke edition/BMG UFA 99
Diverse Promotion Diverse betke edition/BMG UFA 97/98
Cashier Escape Routes CityCenterOfices betke edition/BMG UFA 00
Xarthybrid Offenbar betke edition/BMG UFA 00
Staedtizism Scape betke edition/BMG UFA 00
Pole vs Four Tet Leaf betke edition/BMG UFA 00
Ocean Club presents STUMMMUTE NIGHT Volksbühnenr. Betke edition/BMG UFA 01
Pop 2001 MME/Warner betke edition/BMG UFA 01
Nighteffects WMF Records betke edition/BMG UFA 01
Komfort Lab vs.scape WMF Records betke edition/BMG UFA 01
Sonar Festival 03 Sonar Music betke edition/BMG UFA 03
DIN AV DVD scape scape publishing/BMG UFA 04
Futurism Ain´t shit to me Kitty Yo scape publishing/BMG UFA 05
Round Black Ghosts ˜scape scape publishing 08
Round Black Ghosts 2 ˜scape scape publishing 09
Remixes (excerpts):
Various Artist No 9.5 Fatcat 98
Mike Paradinas Cajual u zique 98
Quarks Wiederkomm Monika ent./Plug Research 98
Lobi Traore Sayo F Communication 99
Biophilia Allstars No Movement, No Sound, No Memories Lux Nigra 99
Egoexpress Durchbrechen X Filme (Absolute Giganten) 99
Laub Grau Kitty Yo 99
Appliance Heroes of Telemark Mute 99
Pole vs Four Tet Cload Leaf 00
Charged Cornered R&S 00
Fauna Flash Ten Compost 00
Atom tm Pentatonic Surprise Quatermass 01
Station 17 Jesus hat gesagt Mute 01
Depeche Mode Carmatose Mute 01
T.Raumschmiere A Million Brothers Mute 03
Louis Armstrong Universal 03
Carl Douglas Kung Fu Fighting Echo Beach 04
Ferdinand Fehlers Hearts Meteosound 05
John Tejada Mono Palette 06
Shackleton Shortwave ˜scape / Skull isco 08
Trentmøller Miss you Audiomatique 08
Produced (excerpts):
Quarks Königin Monika Ent. 99 CD
B.Morgenstern Fjorden Monika Ent. 00 CD
Zigaretten Rauchen Männer Sony 00 7“
A.Nolte 21st Century
Schizoid man, or how to lose your head scape 01
B.Morgenstern Nichts Muss Labels/Monika Ent. 03 CD
Contriva if you had stayed Monika 03 CD
T.Raumschmiere Monstertruck Driver Mute 04 CD
T.Raumschmiere Blitzkrieg Pop Mute 05 CD
TV:
Berlin House Viva 99 D
Pioneers Channel 4 Lee Perry, Brian Eno and more BBC 00 UK
Die Stadt ist Programm In Berlin TVB 00 D
Lola Da Musica Man Machine VPRO 00 N
Levis Rub yourself MTV Europe 02 Europe