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The wicked Path

by Fatwires

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Equinox 04:43 video
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Cambium 06:32 video
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about

"The LP features nine apocalyptic dub tracks that are anchored by Eckhardt’s raw bass guitar, which is twisted and contorted into speaker-rattling labyrinths of sound. It’s an album of organic, cinematic, and entirely engrossing music made for full immersion, and one we have been coming back to countless times..." XLR8R

"These nine tracks are some of the most heavyweight industrial-edged dub you’ll hear this year—almost veering into The Bug territory, but with a particularly murky, organic feel about it all. One to listen to very loud somewhere very dark." Best Electronic Music on Bandcamp

"This set is as shocking and absorbing as Disrupt's "Foundation Bit" (Werk Discs 2007) and presents another unique tributary of dub." The Wire

"We think *wicked* should be capitalized." A closer listen



FATWIRES – THE WICKED PATH
depth of field music, 2020

In ever new combinations of organic beatscapes with live and raw bass guitar playing, John Eckhardt explores the possibilities of his instrument in sound system culture to arrive at his own brand of trippy stone age futurism. Fatwires’ „The Wicked Path“ is like a book of dubwise mediations about patterns in bass, time and space that owes as much to Aston Barrett or Digital Mystikz as to  Ash Ra Temple and György Ligeti.

The vibration of bass strings and the swing and poetry of the live musician shaped the roots of dub and soul. Here it also gives rise to rich bottom end and spectral soundscapes, embedded in deep and rugged percussion that touches on different styles. Hands on his instrument, John Eckhardt spreads out in time and frequency while keeping the funk alive. In addition, he is now working on a complementing series of special music video clips.


Over two decades and four solo releases, John Eckhardt has unfolded an unusual cosmos of bass music. In a large variety of collaborations and a number of different solo projects from hyper-acoustic double bass to bottom-heavy sound system music, installations and even photography, he keeps on reiterating the overarching theme: bass, space and time.

The vital diversity of his approaches draws the listener into the ongoing underlying quest. Like a hunter gatherer, John Eckhardt navigates in his work a wondrous, branching bass forest that is always and never the same, until he ends up facing actual wilderness: archaic patterns slowly emerge in hypnotic detail, and begin to lead a life of their own.

www.johneckhardt.de



Recorded and mixed 2015-2020 on Planet Earth.

All music, bass guitar & live FX, beats, field recordings by John Eckhardt
Mastered by Gavin Weiss, Hamburg
Artwork by John Eckhardt & Katrin Bethge



Reviews on John Eckhardt’s recent works & live performances:

The big bang must have been a low sound. (Rhein Neckar Zeitung)

John Eckhardt’s performance is absolutely stunning. (Paris Transatlantic)

Truly exceptional. (Mannheimer Morgen)

John Eckhardt, a bassist of stature. (Gramophone)

Stupéfiant et monumental! (Octopus)

John Eckhardt est vraiment vraiment deep. (CISM 89,3FM, Montréal)

Eckhardt explores that space where sound and its organization show themselves to be a natural phenomenon. (Dusted Magazine)

No written explanation will get you prepared for the tremendous incisiveness of Eckhardt’s razor-sharp playing. (Touching Extremes)

Eckhardt’s masterful and mesmerizing performances create a sense of total immersion in this deep-toned trip. (All about jazz)

The sound quality of the instrument in the hands of John Eckhardt is striking. (Improjazz)

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released October 1, 2020

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Depth of Field - The music of John Eckhardt Hamburg, Germany

BASS, SPACE & TIME

“if we don’t start to cherish and practice variety, and see how deeply everything connects, we’re gonna fry in hell all together soon!”

John Eckhardt is testing the limits of being a bassist on planet earth in the 21st century, working towards a broader vision of what bass always was and can become in the future. A hunter-gatherer navigating a wondrous, branching sonic forest.
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