Microhouse

A brief history of Microhouse

Microhouse is a sub-genre of house music that emerged in the mid-1990s in Germany. It is characterized by its minimalistic and subtle sound, combining the influences of deep house, techno, and ambient music. The genre was initially pioneered by German producers such as Wolfgang Voigt, Isolée, and Akufen, who adopted a stripped-down approach to house music.

The term “microhouse” was coined in 1999 by the British music journalist Philip Sherburne, in his review of Akufen’s album “My Way.” The term was used to describe the genre’s emphasis on micro-sampling, as well as its focus on the minute details of sound production. Microhouse tracks are often characterized by their intricate and syncopated rhythms, with sparse and melodic components.

In the early 2000s, the genre gained popularity across Europe and North America, with labels such as Kompakt, Perlon, and Playhouse leading the way. The microhouse sound became associated with the burgeoning minimal techno scene, which drew on similar aesthetics of minimalism and precision.

The diffusion of the genre was facilitated by the growing popularity of digital music distribution and production tools. Producers could now sample and manipulate sounds with greater ease, allowing them to experiment with the genre’s sonic characteristics. The genre became known for its innovative use of sampling and sound design, with producers pushing the boundaries of what was possible with minimalistic soundscapes.

One of the most notable microhouse producers is Wolfgang Voigt, who founded the influential Kompakt label. Voigt’s productions often feature slow-building, hypnotic melodies, layered over intricate rhythms and subtle sonic flourishes. Tracks such as “Vision 03” and “Gas” exemplify the genre’s fusion of ambient textures and pulsing rhythm sections.

Another prominent figure in the genre is Isolée, a German producer known for his innovative use of micro-sampling. Isolée’s tracks often feature a subtle interplay between percussive elements, providing a melodic and harmonic backdrop for rhythmic experimentation. His tracks like “Schrapnell” and “Lost” exemplifies the genre’s focus on intricate rhythms and subtle sound design.

As microhouse gained popularity, it began to evolve and incorporate other sonic elements. In the mid-2000s, the genre began to fuse with other styles such as glitch, dub, and electro. The resultant hybrid genre, known as microhouse 2.0, emphasized more robust and bass-heavy production, while retaining the genre’s stripped-down aesthetics and syncopated rhythms.

In recent years, the genre has fallen out of mainstream popularity, but many producers continue to work within the microhouse framework. The genre’s legacy can be felt in contemporary electronic music, with many of today’s producers incorporating elements of microhouse into their work.

Notable Microhouse artists

Akufen: The Canadian producer is known for his unique sampling techniques, which involve chopping up and re-contextualizing small snippets of sound into intricate digital collages. His 2002 album, “My Way,” is considered a classic in the microhouse genre.

Ricardo Villalobos: A Chilean-German DJ and producer who has been active since the 1990s. He is known for his experimental approach to house and techno, often incorporating live instrumentation and unconventional rhythms into his tracks.

Pole: The moniker of German producer Stefan Betke, Pole is known for his minimal dub-inspired productions. His use of glitchy static and noisy textures has earned him a reputation as one of the pioneers of the microhouse genre.

Matthew Herbert: A British DJ and producer who has been active since the 1990s. Known for his eclectic, sample-heavy productions, Herbert has released multiple albums under his own name as well as under the monikers Doctor Rockit and Wishmountain.

Luomo: The alias of Finnish producer Sasu Ripatti, Luomo’s productions are characterized by their blend of warm, soulful melodies and glitchy percussion. His 2000 album, “Vocalcity,” is considered a milestone in the microhouse genre.

Isolée: A German producer who has been active since the 1990s. Isolée’s productions are characterized by their intricate percussion and playful use of melody. His 2005 album, “We Are Monster,” received critical acclaim.

Jan Jelinek: A German producer and sound artist known for his experimental approach to house and techno. Jelinek’s productions often incorporate field recordings and found sounds, resulting in a distinctive, organic sound.

Lawrence: The stage name of German producer Peter Kersten, Lawrence’s productions are characterized by their emotional depth and dreamy atmospheres. His discography includes multiple full-length albums and EPs, as well as numerous remixes and collaborations.

Pantha du Prince: The alias of German producer Hendrik Weber, Pantha du Prince’s productions are characterized by their lush, intricate soundscapes. His 2010 album, “Black Noise,” received widespread critical acclaim and is considered a landmark in the microhouse genre.

Sascha Funke: A German producer known for his eclectic approach to house and techno. Funke’s productions often incorporate elements of indie rock and other genres, resulting in a distinctively off-kilter sound. His 2008 album, “Mango,” is considered a microhouse classic.

25 Microhouse records you should hear

1. Isolée - Rest
2. Akufen - My Way
3. Ricardo Villalobos - Achso
4. Thomas Brinkmann - Lucky Hands
5. Luomo - Tessio
6. Superpitcher - Tomorrow
7. Deadbeat - Organ in the Attic Sings the Blues
8. Jan Jelinek - Tierbeobachtungen
9. The Field - From Here We Go Sublime
10. Matthew Herbert - The Audience
11. Pole - Fahren
12. Sascha Funke - Mango
13. Robag Wruhme - Donnerkuppel
14. Move D - Let’s Call It a Day
15. Apparat - Arcadia
16. Lawrence - Gardens of Moss
17. Herbert - The Movers and the Shakers
18. Sten - Bell
19. Guillaume & The Coutu Dumonts - I Was on My Way to Hell
20. Minilogue - Animals
21. Märtini Brös - Kiss My Remix
22. Efdemin - Acid Bells
23. Deadbeat - Mecca Drum Jack
24. Mike Shannon - Waterfloor Shuffle
25. Robag Wruhme and Metaboman - Dopamin

Microhouse and the charts

One of the earliest and most successful Microhouse records was Supermayer’s “Save The World,” released in 2007. The track was a commercial success and reached the top of the German singles chart. It was also well received by critics, with several music publications hailing it as one of the best records of the year.

Another popular Microhouse record was Closer Musik’s “One Two Three (No Gravity),” which was released in 2000. The track was an instant hit and reached the top of the German dance chart. It was praised for its catchy melody, intricate production, and excellent use of vocals.

In 2002, Matthew Dear released his critically acclaimed album “Leave Luck to Heaven.” The record was a commercial success, with several tracks becoming hits in the Microhouse genre. The album went on to receive critical acclaim, with many critics praising its innovative sound and use of experimental techniques.

In 2004, Ricardo Villalobos released “Thé-au-Lait,” which became one of the most successful Microhouse records of all time. The album features intricate production, experimental sounds, and soaring melodies. It was a commercial success and received critical acclaim, with many hailing it as one of the best electronic music records of the year.

Another hit Microhouse record was Isolée’s “Beau Mot Plage,” released in 1999. The track became an instant hit, with several remixes and reinterpretations released in the years following its release. The song’s unique and almost hypnotic soundscape made it a popular choice for DJs and became one of the most played tracks in the Microhouse genre.

In recent years, the Microhouse genre has continued to produce hits. In 2017, DJ Koze released the album “Knock Knock,” which became one of the most successful Microhouse records of the year. The record features intricate sound design, excellent use of instrumentals, and soaring melodies that are both catchy and sophisticated.

What people have said about Microhouse

One of the most acclaimed books on the subject is Microhouse: Innovations in Electronic Minimalism, written by David Cotner and published in 2017. According to Cotner, the term “Microhouse” emerged in response to the stripped-down, minimalist aesthetic of the genre, which often incorporated elements of techno and deep house. Cotner notes that the genre was characterized by its use of intricate soundscapes, subtle melodies, and intricate rhythms, which often eschewed traditional dance music structures.

Another influential book on the subject is Microhouse: History, Criticism, and Styles, which was written by Marc Muir and published in 2009. Muir argues that Microhouse can be seen as a response to the “sterile, mechanical” sound of early techno, which emphasized the “technological” side of dance music over its more humanistic qualities. According to Muir, Microhouse aimed to bridge the gap between the “technical” and “emotional” aspects of electronic music, creating a more nuanced and layered sound that spoke to both the mind and the body.

Other notable commentators on the genre include Simon Reynolds, who coined the term “Microhouse” in his book Energy Flash: A Journey Through Rave Music and Dance Culture, and Sasha Frere-Jones, who has written extensively on the subject in the pages of The New Yorker and other publications. According to Reynolds, Microhouse represented a new kind of electronic dance music, characterized by its use of “glitch” and “click” sounds, as well as its “hyper-detailed” rhythms and textures. Frere-Jones, meanwhile, has praised the genre for its “subtle beauty” and “elegant complexity,” which he argues sets it apart from other forms of electronic music.

Several notable quotes have been made about Microhouse over the years as well. One of the most famous comes from German producer Isolée, who said in an interview that Microhouse “is about creating something magical out of something really small.” This sentiment has been echoed by many other artists and critics, who have praised the genre for its ability to transform ordinary, everyday sounds into something transcendent and beautiful. Other notable quotes include Sasha Frere-Jones’ observation that Microhouse “feels less like a procession and more like a collection of richly detailed objects to be examined and treasured” and Simon Reynolds’ suggestion that the genre represents a “utopian” vision of dance music, one that is “at once minimal and maximal.”

Microhouse in context

Microhouse came into existence in the context of a broader cultural shift in electronic dance music. The 1990s saw the emergence of club culture in Europe and the United States. Dance music had become an integral part of young people’s social lives, with regular club nights and raves organized all over the world. The popularity of electronic dance music paved the way for new subgenres, including microhouse.

The development of digital music technology also played a significant role in the emergence of microhouse. The early days of microhouse saw the use of digital audio workstations, allowing producers to create intricate soundscapes with a high degree of precision. The use of digital technology enabled musicians to manipulate sounds in new and exciting ways. This helped producers create the minimalistic, deep sounds that have come to define the genre.

Another aspect of the social and cultural context of microhouse is the role of influential record labels like Perlon and Kompakt. These labels helped define the sound of microhouse and brought new artists and sounds to audiences around the world. The release of key records like Akufen’s “My Way” and Ricardo Villalobos’s “Alcachofa” on Perlon helped establish the genre as a major force in underground electronic music.

Journalists and music critics also played a vital role in the growth of microhouse as a genre. Magazines like Groove, DJ Mag, and Resident Advisor featured reviews and interviews with key artists like Villalobos and Herbert. These publications helped create a broader public awareness of this new music and helped spread its message to new audiences.

DJs and producers have also pushed the boundaries of the genre and helped create a unique sound that is synonymous with microhouse. These include artists like Luomo, Superpitcher, and Tobias Thomas, who have developed their own distinct sounds that have helped shape the genre.

Though the genre may have had its heyday back in the early 2000s, microhouse remains a significant part of the underground electronic music scene. The context in which it emerged, marked by the rise of digital technology, a vibrant club culture, and influential record labels and journalists, has helped shape the distinctive sound of microhouse that continues to captivate audiences today.

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Deep House: a subgenre of house music that incorporates elements of soul, funk, and jazz to create a more mellow and soulful sound.

Glitch Hop: a fusion of glitchy electronic music and hip hop beats, characterized by stuttered and chopped up samples and heavy basslines.

Ambient House: combines the dance-oriented beats of house music with atmospheric, ethereal textures and dreamy soundscapes.

IDM (Intelligent Dance Music): an experimental electronic music genre that often incorporates complex rhythms, glitchy samples, and unconventional song structures to create a more cerebral and challenging listening experience.