Over the last decade, this Berlin techno producer has made a name for himself with a steady stream of decidedly emotive singles on labels like Kompakt and Ellen Alliens Bpitch Control. Followers of both those labels will already have a good sense of Funkes sound of the similar-minded artists recording with these imprints (Allien, Michael Mayer, Sylvie Marks, Superpitcher), hes the producer who most readily serves up the accepted composite of emotive pop and moody, minimal trance flourishes that the labels have become known for. Mango is Funkes second full-length, coming five years after Bravo, and he uses the occasion to explore a more epic framework than his previous work has showcased. Mango sees Funke at his most mature to date, focusing on understatements, patient builds and subtleties that opt for a rainy day atmosphere over overt pop hooks. And Mango is a satisfying, accomplished listen, though its not one that ever truly captivates. Funkes productions are capable, to be sure, but like Dominik Eulbergs full-lengths, he has yet to sustain the cult of personality to pull off an album worth listening to over and over again. A step forward for a producer not short on skills, but still a few steps shy of amazing.
This is your second album in five years. Why the long wait?
I think the singles and remixes I did after Bravo were more dance floor-oriented, and I felt a bit bored after only doing that kind of style for a while. Especially right now, you can listen to so much minimal club music; I wanted to find a new balance between all the other music styles I listen to and the techno music I play in the clubs. In Berlin, there are so many interesting things happening all the time, you can go out every day, meet people. But in the end to work straight through, I went to a village; I needed the situation I found in Aix, where I could work with more concentration than in Berlin.
Can you tell us about your relationship with Bpitch Control and why it has been such a good home for you?
If youre part of something from the beginning, it feels like home. Of course, Ellen is the main reason; we have a close friendship, seeing each other every week, talking about music, going to record shops. My studio is in the same building as the office; Im always in touch with the people from the office. Its the best feeling you can get, all working for the same ideal.
(BPitch Control)This is your second album in five years. Why the long wait?
I think the singles and remixes I did after Bravo were more dance floor-oriented, and I felt a bit bored after only doing that kind of style for a while. Especially right now, you can listen to so much minimal club music; I wanted to find a new balance between all the other music styles I listen to and the techno music I play in the clubs. In Berlin, there are so many interesting things happening all the time, you can go out every day, meet people. But in the end to work straight through, I went to a village; I needed the situation I found in Aix, where I could work with more concentration than in Berlin.
Can you tell us about your relationship with Bpitch Control and why it has been such a good home for you?
If youre part of something from the beginning, it feels like home. Of course, Ellen is the main reason; we have a close friendship, seeing each other every week, talking about music, going to record shops. My studio is in the same building as the office; Im always in touch with the people from the office. Its the best feeling you can get, all working for the same ideal.
