Autostrada Del Brennero

Check this brilliant essential 7” straight outta Vienna! Monstah!!! - Steve Barker On The Wire (UK)

Ah, the romance of the open road! From Kerouac's fevered scribblings to Kraftwerk's sterile love letter to the Autobahn, the notion of the highway has long inspired a certain type of artist to look beyond the mundane and into the rhythmic hum of engines and the infinite possibility of horizons. Enter Ulrich Troyer with "Autostrada del Brennero", a two-track dub journey that swaps the endless plains of America's highways for the concrete curves of the Brenner Pass, channeling this motoric obsession into something altogether more... smoked out. Ulrich Troyer isn’t new to the game. He’s a seasoned explorer of soundscapes, one who knows his way around a dubplate as well as a synthesizer. With "Autostrada del Brennero", he’s crafted something that’s both a tribute and a reimagining of what travel music can be. Here, the road is not just a metaphor for life’s journey; it’s a literal thoroughfare, buzzing with the echoes of trucks, distant traffic hums, and the pulse of a city left behind. On "AUTOSTRADA DEL BRENNERO", the first track, Diggory Kenrick’s flute flutters like the wind through open car windows, a delicate counterpoint to the solid, unwavering bassline that drives the piece forward. There’s a meditative quality here, an invitation to zone out and let the miles (or kilometers, for our European friends) melt away beneath your wheels. Kenrick, with his experience in the revivalist reggae scene, knows exactly when to let his instrument take the lead and when to let it fade into the background, becoming just another texture in the evolving soundscape. If side A is a smooth cruise through the mountains, then "BRENNERAUTOBAHN" flips the script, courtesy of Takafumi Noda, a.k.a. Mystica Tribe. His melodica injects a bit of the unexpected into the mix — a slight detour, if you will. The track is rooted in technoid dub, but Noda’s influence pulls it towards something more organic, more tactile. The analog synths and drum machines provide a mechanical undercurrent, but it’s the melodica that adds a touch of humanity, like a lone hitchhiker thumbing a ride on this electronic odyssey. Troyer’s production here is pristine but not sterile. You can almost hear the sweat and the late-night studio sessions, the tweaking of knobs and faders until everything sits just right in the mix. It’s clear that this isn’t just a one-off experiment; it’s the product of someone who has lived and breathed dub music for years, who understands its roots as much as its future potential. Musically, "Autostrada del Brennero" may seem deceptively simple at first glance. But like all good dub, it’s in the details where the magic happens. The bass isn’t just heavy; it’s a gravitational force, pulling you deeper into the sound. The drums aren’t just a rhythm; they’re a conversation, each hit and echo speaking to the spaces in between. And then there’s the way the tracks seem to stretch out, as if time itself is being manipulated, much like the experience of a long drive where minutes blur into hours. This record exists somewhere between the physicality of a 7" vinyl and the conceptual space of a sound art piece. It's a record that might remind you of the long-form journeys of Basic Channel or the late-night drives soundtracked by King Tubby, yet it’s distinctly Troyer’s own. This is dub music as a mode of transportation — not just sonically, but mentally. It’s music that invites you to close your eyes and drift, to let your mind wander down the road it paves. If you're asking for my verdict, I would say that "Autostrada del Brennero" is not just for the dubheads. It’s for anyone who’s ever found solace in the repetitive thrum of a highway, who’s ever lost themselves in the blur of the landscape flashing by. It’s an homage to the romance of the road, but also a reminder that every journey is shaped as much by the company you keep as by the path you take. With contributions from Kenrick and Noda, Troyer has crafted a record that’s as much about collaboration as it is about solitary travel. It's a short trip—just two tracks—but one that lingers long after the needle lifts. Buckle up, and enjoy the ride. - Vito Camarretta Chain DLK (Music Blog)

Ulrich Troyer’s output this year has taken an interesting turn. While he’s often favoured comparatively short-form releases (NOK 2020, released in 2020, surprisingly enough, featured six tracks originally released on a 3” CD twenty years earlier, bolstered by additional material to render a full-length album, while other albums in his catalogue contain only four tracks, or more very short ones). But ‘Autostrada del Brennero’ represents this third seven-inch release of the year after four years of silence. However, while ‘Moments’, which we covered here in March was a standalone release, ‘Autostrada del Brennero’ is a companion to ‘Echoes’, released in May, and both are prefatory pieces to the forthcoming album, Transit Tribe, slated for release later this year. As with Echoes, Troyer has brought on board guest to feature here, with reggae luminary Diggory Kenrick contributing his signature flute to the lead track, and Taka Noda bringing melodica to flipside ‘Brennerautobahn’. Continuing his pursuit of some deep dubby vibes, as formed the basis of Dolomite Dub, and the Songs for William trilogy, ‘Autostrada del Brennero’ is four and a half minutes of spacious, echo-drenched rimshots which crack out from shuffling drums and cut through spectacularly swampy bass. It’s got groove, but it’s low, slow, and mellow, with Kenrick’s flute adding an almost trippy folk aspect, which is a perfect counterpoint to the fizzling space-rock synth details which burst like laser-beam Catherine wheels. Either my ears are deceiving me, or ‘Brennerautobahn’, which has exactly the same running time, is the same track but with the flute substituted with the melodica, and as such, this release follows the format of the previous two, where an alternative version occupies the B-side. This was, of course, common practice on old reggae releases, whereby the B-side would contain a dub version – often simply as a ‘version’ – of the A-side. Here, there’s a certain irony in maintaining this tradition when the A-side is already essentially a dub version, and one doubts this irony will be lost on the artist. Both cuts are solid – sparse yet dense, confident experiments in bass frequencies and massive echo and reverb it’s difficult to resist the urge to nod along to, slow, heavy-headed, mellow to the max. Good vibes, for sure. - Christopher Nosnibor Aural Aggravation

Airplay of AUTOSTRADA DEL BRENNERO and BRENNERAUTOBAHN - lautunddeutlich Radio RDL (DE)

Airplay of BRENNERAUTOBAHN on Orbiting a Different Star #19 - Andrew Backhouse Harrogate Community Radio (UK)

Airplay of AUTOSTRADA DEL BRENNERO - Twopennyhangover Radio Jazz FM (PL)

I first came across Ulrich Troyer via a little 3 - Peter Hollo, Utility Fog FBi Radio, Sydney (AU)

Airplay of AUTOSTRADA DEL BRENNERO - This is not a Disco Source 96.1 FM (UK)

Airplay of AUTOSTRADA DEL BRENNERO and BRENNERAUTOBAHN - Radboud Mens Earbitten, Worm.org

Airplay of AUTOSTRADA DEL BRENNERO - Stefan Wagner Radio Z (DE)

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