Black To Comm

The author of the mix is Marc Richter, publicly known as Black To Comm, a German musician and curator based in Hamburg. His alias references the MC5 track of the same name, channeling the band’s spirit rather than their ideology. Richter has often described music as an intuitive force—something that floated inside him long before it manifested in physical form.

Richter began recording and releasing music in 2003. Over the years, he has built an impressive discography on respected labels such as Type Records, Digitalis, En/Of, De Stijl, and his own Dekorder—an imprint known for its curatorial excellence. Richter utilizes vinyl loops, antique electronic and pump organs, YouTube samples, processed voice, field recordings, and various acoustic instruments to create intricate, multi-layered collages. His work combines the organic warmth of vintage recordings with the cold charm of machinery. His philosophy that “there’s enough ‘perfect’ music out there” explains the contrasting and unexpected voyages in his production, where each release brings something genuinely new and unforgettable.

In the records

STM 110 is a diverse, profuse, and meticulous selection that guides the listener through imaginary abandoned places, forgotten cultures, sacred architectural monuments, and nocturnal mysteries. Black To Comm designs a complex illusion based on surreal, psychedelic, and poetic moods. Gradually evolving emotive sounds allow the listener to drown in fantasies and dig deep into the subconscious, projecting a utopian world full of wonders and extraterrestrial knowledge.

The mix includes 26 accurately merged records released between 1969 and 2013. Luc Ferrari, Asmus Tietchens, Robert Ashley, and Mike Kelley are just a few of the spotlight names here; their music shrouds the mix in enigmatic passion and artistic maturity. The sonic structure is built on dreamy field recordings, cathedral-like atmospheres, vivid percussion, and playful melodies recorded on classical instruments (organ, violin, grand piano). Haunted vocals, thrilling laments, and ritualistic prayers penetrate the soul. The thoughtful, conceptual mixing turns this selection into what feels like a continuous composition by a singular experienced mind—blurring the lines between a DJ selection and an original work.

The mix stands in parallel with the disquieting painting Stern by Marlene Dumas. Identifying the subject is not the key to the content; understanding the work requires looking at the relationship between reality and metaphysical imagination. It is possible to experience the afterlife after viewing the painting, and the same applies to Black To Comm’s esoteric masterwork, which seems to break the fundamental laws we know.