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Album Review

One of the founding fathers of Glasgow's thriving techno scene, Lars Sandberg is closely tied to fellow Soma artist Slam in both geography and sound. Granted, that sound is a heavily replicated Detroit vibe, meaning that the novelty of new musical ideas has no place in this purist camp. And while Slam has often made up for lack of invention with writing and craftsmanship, it appears that Sandberg doesn't really hack it in that department either. Therefore, all that is left is copies of the originals. The process of imitation is laid bare on "Obrigado," where layer upon layer of Detroit sounds are slowly placed on the initial bass-drum kick. You can almost hear the academic voice reciting, "Next, we add the syncopated hi-hat." Despite these complaints, this is not a particularly bad album. Every track serves its sonic purpose, adding to the fodder of Detroit techno. So should you tire of listening to the original works Juan Atkins or Derrick May but still desire the lively hi-hats and lush synths of Detroit, this is a good place to get your fill.


Born: 10 March 1971 in Glasgow, Scotland

Genre: Dance

Years Active: '90s, '00s

On the techno side of tech-house, Lars Sandberg's streamlined recordings as Funk D'Void enlivened the fertile Glasgow techno scene during the mid-'90s courtesy of Soma Recordings, the label owned by local scene-heads Slam. He began DJing hip-hop and house around Glasgow in the mid-'80s and later began recording as well, sparked by a drive to hear his own tracks on the dancefloor. Sandberg named his production alias in tribute to George Clinton, whose P-Funk concert machine often featured a mythical...
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Dos, Funk D'Void
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