Dorninger – 8K (Base Records)


Austrian electronic producer Wolfgang Dorninger has previously released two studio albums under his own surname on Linz-based label Base Records, and this third collection 8K follows on the heels of his 2006 DVD album Nasca, On Perspective. In this case, 8K represents just the first component in an ongoing multimedia project by Dorninger, with the eight tracks collected here providing the original source material for his online 8K=8K+-(G)<>(A)<>(N) “remix concert’s foray, which sees these tracks being processed and recontextualised using G (granular digital processing) A (analogue dubplate manipulation) and N (remixing via the internet using Tubeplug software). Despite the complicated-sounding theoretical conceits implied by the above however, there’ an unexpectedly club/dancefloor-focused pulse running throughout much of 8K.

Opening track “Min/Max’ builds itself around a wonky backbone of off-centre house rhythms that intertwine around waspy-sounding analogue synths and near-acid funk squelches in an offering that calls to mind Luke Vibert’s retro-minded Moog explorations, before “Cntrl’ offers a drastic shift in mood that proves slightly abrupt, as ferocious sheets of distorted power-noise trade space with DSP-contorted house snares and doomy background ambience, in a moment that shares considerably more kinship with Shitmat or Cdatakill’ nasty excursions. “Easy Money’ meanwhile wears its hardcore influences proudly upon its sleeve, sending mutated bass pulses ringing out beneath a tidal wave of hyperactive rave breakbeats and stabbing synth riffs that sound like they could’ve been stolen directly off of an Altern8 or early 808 State track. “Butter & Tea’ meanwhile sees the nastier distorted textures moving back towards the forefront, as washes of shearing industrial noise slide against a sinister backdrop of moody EBM-centric synth pulses and Mantronix-esque breakbeats, before 20 minute long closing track “Demix’ ends proceedings on a completely different note entirely, taking things out into ominous, downbeat territory coloured with flickers of what sound like plucked string instruments and moody analogue synth pads. While it’s sometimes difficult to keep up with the abrupt shifts in stylistic pace between these eight tracks, 8K sees Dorninger fashioning a collection that manages to conjure consistently intriguing atmosphere from start to finish.

You can check out Dorninger’ 8K=8K+-(G)<>(A)<>(N) remix project at

Chris Downton


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A dastardly man with too much music and too little time on his hands


  1. I’ve seen the 8K-Dorninger show at Rhiz when I stayed some days in Vienna this winter. 90 minutes of highly concentrated explorations between beats and textures. 2 turntables with several dubplates (with av. 70 loops on each plate – could see them after the show) and a laptop with only one program doing the granular stuff. Seams it was a (A) and (G) evening without (N). Anyhow Dorninger projected the digital tratment on a video-screen so the audience could seewhat he did with the software and so it was easy to follow the analog, digital and the analog/digital liev-remixes of “8K”.
    What else to say? A great evening!

    love gab

  2. hi chris!

    thanks for your interesting review. why is the album that (maybe too) open in style? last summer I was in Venice for the Venice biennale then in Kassel at the Documenta. So I had this art overdose and when I went into the studio I just switched my machines from analog to digital and started to record. no concept, no flow, no style, just “rock ‘n’ roll.

    sounds strange, I know. “8k” carries a lot of remix-theory from different point of views and the album – the basic soundpool, is just pure fun, a product of a late summer.

    greetings from Linz, Asutria


    ps: Hi Gab, thanks for the very nice live-review. yes I liked it too. was a great night. see you somewhere in the near future.