As Call Super, producer Joseph Seaton helps expand the world of techno | Concert Preview | Chicago Reader

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As Call Super, producer Joseph Seaton helps expand the world of techno


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In a 2017 Resident Advisor feature, Berlin-based dance producer Joseph Seaton recalled the eureka moment he had in the 2000s while watching Detroit techno champion Jeff Mills spin at London club the End. “When he played all night, he would play all different kinds of music,” Seaton said. “I remember him playing Beastie Boys in the End, the Sugarhill Gang for fuck’s sake. I thought, ‘Right, so techno is all of that.’” Seaton records under a variety of names (Ondo Fudd, Elmer Crumb, JR), and he’s best known for his primary project, Call Super. You could categorize his work as techno, but it sometimes sounds like he’s exploring ways to graft the genre’s characteristic percussive rush onto more abstract music. On Call Super’s most recent album, the 2017 Houndstooth release Arpo (which includes clarinet and oboe from his father, retired art professor David Seaton), he introduces rhythms from such odd angles that at first it’s a challenge to detect a danceable pattern. On “Ok Werkmeister,” clusters of mutated drums scatter across wobbly synths like a tossed handful of jacks, and on “Ekko Ink,” hypnotizing typewriter-like clicks give way to delicate, fizzy polyrhythms. But Seaton mostly uses those experimental touches to increase the power of his grooves, which are unshakably tenacious once they emerge. In June, he dropped the relatively straightforward-sounding Call Super 12-inch “All We Have Is Speed” b/w “All We Have Is Glue” (Peach Discs), whose A side opens with a driving four-on-the-floor beat—but then Seaton layers on echoing clangs, snippets of horror synths, and other spooky sounds to keep dancers on their toes.   v

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