STM 106 - Senking

The author of the mix is Jens Massel (b. 1969), better known as Senking, a German electronic music producer and live performer based in Cologne, Germany. Massel began producing minimalistic techno in 1995 under the alias Kandis. However, it was only in the late 1990s that he signed to the then-emerging labels Raster-Noton and Karaoke Kalk. Step by step, he distanced himself from Kandis and started focusing more on developing Senking’s sound identity. In more than two decades, Massel has released ten albums and over ten EPs. Senking’s latest album, “Capsize Recovery,” clearly demonstrates his perfection in sound quality, conceptual depth, and inventive approach to abstract yet three-dimensional sound architecture. Inspired by musicians such as Vladislav Delay, Rhythm & Sound, Bohren & Der Club Of Gore, and drawing from his love for cycling, Massel has created a perfect audio symbiosis of transcendental rhythm, dark mood, and wisely used modulations. Although Massel’s music has subtly moving rhythms and vibrant textures of low tones and could be related more to dance music, it also hypnotizes and stimulates the subconscious with all its deliberate experimentations.

“Secret Thirteen Mix 106” is a sincere and kaleidoscopic mix that reflects music that had a significant impact on Massel personally and influenced his recordings. Massel describes this mix as “mixed emotions.” The mix contains 21 eclectic records that range from true classics by musical luminaries such as Bob Marley & The Wailers, Melvins, and Billie Holiday to contemporary talents like Andy Stott, Death Grips, and others. It also contains unreleased tracks from Senking that are still in progress, as well as one of his rare compositions, “Tar,” released in 2002. An amazing collision between Bohren & Der Club Of Gore’s music and the touching voice of Ralph Stanley at the beginning of the mix immediately captivates the listener and predisposes them for an unexpected musical journey. The development of the mix is reminiscent of automatic radio programs, where quick fade-ins and fade-outs are prominent. It includes a wide array of diverse musical styles and moods. However, Massel just wanted to be true to himself, which is why he has chosen these types of tracks, even if some of them are well known to our audience and might not be considered a ‘joy’ for real crate diggers. An essential aspect here is to show how these types of music, over a long period, can crystallize into something extraordinary—for example, Senking’s unique sound. Attentive listeners will notice smooth dynamics between the tracks, as it feels that the records have indirect connections through tempo, mood, sound structure, stylistic similarities, or even underlying messages.

Senking’s mix is akin to Robert Irwin’s surreal installation “Untitled (Acrylic Column),” which explores light and space movement. Both works represent everyday surroundings that can be viewed from different angles. It is up to each individual how they see the daylight and how they experience reality. Massel hopes that his mix will be “not too polarizing,” and we share that hope.