Kareem

We at Secret Thirteen have few rules, but the ones we do have, we follow with zeal. One such is the rule not to publish multiple mixes by the same artists under the same aliases. The world is full of vision, full of beauty, and full of people who conjure that beauty into ever new forms – there’s no need to seek quality in tried and true places. Be that as it may, few labels are as important to our journal as Zhark Recordings, and few musicians are as important as their founder Kareem. When he said he had some music he had to get off his chest, there weren’t many questions asked. We would lend an ear or two, as would our audience.

Patrick Stottrop, aka Kareem, has been active and releasing visionary, punishing, gritty industrialized techno material for well over 2 decades. As the founder of Zhark, he has been instrumental (along with a few others) in forming the sound commonly associated with that label. Kareem’s first two EPs, In The Bush and The Payback with Hecate came out in 1996. Among all the wonderful solo records he has perfected throughout his long and fruitful musical journey, there are several collaborative EPs that shine just as bright as his solo adventures – one to mention is the 2012 release with Ancient Methods, Exstinctio Conscientia, and another is Kareem’s take on hip-hop instrumentals with Shadow Huntaz – Irreparable Damage. His latest Hinrich EP out on Zhark just a week ago (on September 4, 2018) is once again proof that Kareem is a master of industrial techno rhythms and freezing atmospheres.

In the records

STM 264 is nothing like Kareem’s first offering to our series. Instead of focusing on the aforementioned rhythmics and atmospherics he is known for, Kareem records a slowly-progressing, diverse recording of almost 2 hours, drawing us in inch by inch. The beginning focuses on melancholy piano melodies and ambient masterpieces – Popol Vuh, zoviet france, Tangerine Dream, Eno, and others. When Kareem takes us out of this mood, it’s with a step towards the dubstep and hip-hop beats of Chee and Dälek, easing us into the punchier side of the story. When we finally get to the signature techno bangers – Jeff Mills, Kareem, Swarm Intelligence – we’re almost halfway in, but the fast pace is not permanent. At the end of the recording rhythms gradually decay and we are left with beautiful wintry synths, and finally an exit through DJ Richard’s contemplative electro. Kareem’s pacing is great in this mix, allowing the listener to linger and breathe. There are many different ideas contained within these two hours, but the emotional thrust resides at each end – elegant, lonesome, open. Kareem’s recording is reminiscent of Rafa Nasiri’s 25th Untitled painting, due to its different yet connected layers, as well as the vague sense usually brought about by being near the sea. A must for long, lonely hours.