Gotha, an East German city about three-fifths of the way between Berlin and Frankfurt. In 1984, kindergarten friends Christoph Höfferl and Benjamin Waschto take claves in their hands for the first time and instantaneously renounce the unglamorous reality of their nursery with an escape into collaborative music making.
Years go by, fast forward into the 2000s. On the way to Eleusis, they find themselves in Denmark. Riding high on the acid sound popular there, the duo strides across the sea level kingdom from south to north, watching the scenery between Skagerrak and Kattegat. North Sea waves hit Baltic Sea waves, hit sawtooth waves.
A good three decades after the first steps, and some musical projects later – The Zonnhaider ‘s Club, Nosral Flow – the claves of their childhood have been joined by all kinds of synthesizers and other instruments. And not just for the sake of a dancing crowd.
The two studied electro-acoustics and spatial sound design together as SeaM in Weimar, a fact the more abstractly inclined listener will recognise. But above all, Irk Yste make acid. Acid of their ilk. An elaborate mixture of techno, hip hop, jazz, and these styles’ underlying, overarching, and imbedded characteristics.
Irk Yste’s music is born from an iterative procedure between structure and harmony – and a thorough warping thereof. To begin again and again right from the beginning; sound aesthetics round about three-fifths of the way between Berlin and Frankfurt.