Peter Van Hoesen - A Swing Is Not A Throw

Peter Van Hoesen has consistently operated at the upper echelon of the techno scene, using sound design expertise to craft exhilarating sonic worlds for listeners to get lost in, and this is no different. The Belgian producer has released on several notable labels, including their very own Time To Express imprint, the Dekmantel UFO series and the world-famous Tresor label. The latest release by Van Hoesen is called A Swing Is Not A Throw, released in 2023 on the Time To Express label.

A Swing Is Not A Throw returns instantaneously to Van Hoesen's trademark sound-designed heavy techno. The first track on the release, 'Dream Implosion', begins with a breathy half-time kick with subsequent synthesises that sound like incessant jabberings of insects as they warm over each other's bodies in a feeding frenzy. In true Van Hoesen style, around the track's midpoint, all these elements amalgamate together, signalling the start of a new section with the addition of rubbery sirens. However, Van Hoesen morphs the sirens into something entirely otherworldly. They modulate and break apart, creating an uneasy feel to the track. I'm left feeling a quiet terror thinking about what Van Hoesen will create moving into the EP.

The second track 'Subjects From The Past' explodes from the hive with a thumping four-on-the-floor kick drum interlaced with the most aggressive low end on the EP that snarls unapologetically. The hi-hat pattern on 'Subjects From The Past' is particularly interesting as it doesn't conform to the tried and tested trope of putting the hi-hat on the offbeat. Instead, Van Hoesen strives to create a more discerning rhythm by mixing the hi-hat tones and placement. This time, Van Hoesen's synth sounds more like bubbling liquid locked in a call and response with a textured stab that rings out because of the delay effects used. The tension begins when a foggy melody creeps in. It rises again when Van Hoesen drops all but the kick bass and hats, leaving space for this mesmerising pad to fill the space between frequencies, injecting some uncertainty. Instead of a traditional riser or drum roll, the pad sits centrally in the mix. Modulating the pad slowly is impactful because it lifts the listener, almost promising a resolution. Especially the way that Van Hoesen uses it. We are left to sit with this until that bubbling water synthesiser returns and dissipates. No actual resolution, just back to the groove.

'Purity Death Spiral' demonstrates rhythmic excellence with shoulder-shimmying kicks, a shakers pattern, and a bassline that chugs along just underneath. The tension in this track is so powerful as the rising arpeggio phase in and out of existence. The effect is pulse-pounding as anticipation is continuously being built and built. However, Van Hoesen doesn't just rest on this one factor, as each element increases in intensity. The Shakers become more jagged and aggressive. The arpeggio becomes harsher and more resonant, and a sparkling synth hangs above the whole track like stars in the sky. As the breakdown begins, a wash of reverb filtering and feedback squash the track's frequencies, again building that tension. Incredibly Van Hoesen doesn't give the listener the relief they expect at this point. As the track drops back in, the same arpeggio motifs continue, instantly raising tension again. This is one of the situations where less does equal more. Van Hoesen demonstrates rhythmic content is only sometimes necessary to elicit an emotional response.

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Peter Van Hoesen - A Swing Is Not A Throw

'Viola Flash' takes a different route instead of starting with a drone reminiscent of the THX' Deep Note' opening that sits with us for an uncomfortable time, slowly sinking away to reveal the kick and Rumble. As the dream continues over these two elements, it takes on a more celestial feeling. At this point, the kick becomes heavier. The rhythmic clackers accent the beat as we're left in a quasi-stillness—just the kick clacker and rumble. Then Van Hoesen introduces a stub that unfolds into a rather Dickensian piano melody, although augmented heavily with effects. This section set me in the mindset of London borough flush with cobblestone and gas lamps, yet it's so futuristic. This particular part exhibits the incredible sound design Van Hoesen has developed. Within one melodic sequence, the juxtaposition is so stark.

'Impostor' is a real groover and head-down body mover. Van Hoesen carefully crafted a percussive sequence and washed it with effects. The main bed of the track seems to be a drum sequence with some shakers, and the Belgian artist uses phasers, filtres and a litany of other effects to transform that into quite a throaty and quiet tribal, sounding bedrock for the track. Van Hoesen uses this infrequent wind sound throughout 'Impostor', made up from what I can guess, the reverb of the drum sequence. Again, 'Impostor' plays with tension as we march continuously to an undetermined destination. At this point, Van Hoesen uses bowed pad sounds that feel floaty and cloud-like. They sit across the entirety of the track, further emphasising that stillness. I've always been a sucker for an acid line in a track, and this one is great. It reminds me of the old Milton Bradley Alien Rain tracks, where the 303 swirls and modulates polymetrically, adding the meditative qualities of the track.

This release is a great return to form from Van Hoesen, showcasing what makes them such an influence in Belgian and German techno. Peter Van Hoesen uses mind-bending sound design and exercises a mastery over tension and release to enable him to make extraordinary tunes and land them in the upper stratum of techno producers for me.

Tracklist:

1. Dream Implosion

2. Subject From The Past

3. Purity Death Spiral

4. Vola Flash

5. Imposter

Label: Time To Express (2023)