Shawn Rudiman

*** 1/2
Shawn Rudiman might not find his way onto a locally compiled list of Pittsburgh's most famous exports, but abroad he's quickly becoming one of the city's most famous sons. He's done the two turntables thing on occasion, but he's really a producer. His live performances consist of improvisational or rehearsed pieces played on a bank of synthesizers and drum machines. The release of his newest record coincides nicely with Rudiman's recent return from playing prestigious clubs in Glasgow, London and Germany. The latest offspring of the Technoir Audio label -- run by Rudiman and several of his DJ and producer colleagues -- Rubin's Place contains four tracks of pristine, irresistible techno. "Martini Kiss" starts things off with a warm, danceable bass line. "Rainy Days and Nights" takes the listener down a notch; soothing vocal humming is surrounded by a beat that provides womb-like comfort. The flip side begins with "Solitude," a decidedly darker tune. Like something transmitted from outer space, it manages to convey a vast loneliness through its chord progression, while the healthy dose of electro influences prevent the track from sounding too cold. "Shakedown" returns to the funky mood set by the first track with a smooth, pulsating undertone complemented by clicks and chirps. The song title peppers the mix in a breathy whisper, disproving those who think that synthesized music cannot be sexy. While the record will gain the most attention among the DJs who spin it, Rudiman's sharp arrangements should surprise even those who are eternally skeptical of techno.

-- KELLY DELANEY - Pulp Magazine

No stranger to these parts, Pittsburgh’s Shawn Rudiman drops by to deliver his latest tour de force - a trio of tracks - for arguably Dust Science Recording’s finest release to date. The main cut and title track, ‘Second Is First’ (A1), is a sweet piece of deep electronic grooviness on a tip that is not quite house, and not really techno. From the off, its simple hypnotic rhythms instantly weave a body jacking spell that oozes heavy ass bass and deft hooks, making this a sure fire floor favourite and killer listening to boot. There is no let up in quality on the flip either, as Rudiman makes good on ‘She Don’t Deserve My Hate’ (B1), a head nodding melee of synthetic blips and soothing string washes that amble to and fro. ‘Time and Focus’ (B2) leaves little time for breath as the pace pick back up with a chugging 909 rhythm base and interjecting sirens a la Mills that’ll surely appeal to those looking for a slightly harder edge.

Reviewed By Owain Kimber - www.littledetroit.com

Shawn is undoubtedly most renowned for his pair of stunning releases on Daniel Bell's Detroit Techno label, 7th City. Released in 1999 and 2000 respectively, these records both went on to sell thousands of copies each worldwide, and remain some of the best examples of dancefloor Detroit Techno around. He has also released on Integrated, his own Hypervinyl and Technoir Audio labels and now heralding 11th Hour Recordings imminent arrival with the debut 12", Deal With It.

He is also highly respected and sought after for his incredible live sets, which are performed genuinely live and 'off the cuff' - ie purely off drum machines and synthesisers, with no laptop or DAT in sight! These sets take his fluid and funked up style to another dimension, and have been known to last up to five hours. Last November we brought him to Glasgow for his Scottish debut as part of his first European tour to overwhelming reaction. Those lucky enough to catch him that time around have been eagerly awaiting another chance to witness his mind-blowing analogue performances! - Nuture (Club 69)

Shawn Rudiman macht eine der seelenvollsten Musiken der Gegenwart. Kein Produzent hat die housige, aber nicht percussionorientierte Seite Detroits so weiterverfolgt wie er. Zwei Maxis auf Dan Bells Label 7th City gaben ihm einen unangreifbaren Status; die folgenden Releases enthielten oft einen Über-Track und waren sonst durchschnittlich. Auf dem Album, das auf dem eigenen Label Technoir als zwei einzelne 12“s und als CD in jeweils den Medien angepassten Versionen erscheint, tritt das „sexual“ gegenüber dem „synthe“ zurück. Gerade bei den ruhigeren Tracks spürt Rudiman sehr der Poetik der Synthesizer nach, die packenden Arrangements lösen sich auf. Dabei ist er in den Sounds und den Melodien aber weniger originell und speziell als etwa Acts aus dem Delsin-Umfeld. Hier erscheint Detroit nicht wie in seinen älteren Tracks von seiner sexiesten Seite, sondern im Moment, in dem die Sounds im Begriff sind sich zu verwehen; Detroit erstrahlt in einer ruhevollen, fast hermetischen Klassizität.
AW - Groove Magazine