Thomas Schumacher ‎– Tek 29

Spiel-Zeug Schallplatten ‎– spiel14, Spiel-Zeug Schallplatten ‎– SPIEL14
Vinyl, 12", 33 ⅓ RPM

Companies, etc.


Barcode and Other Identifiers

  • Matrix / Runout (Runout side A): SPIEL 014-A SNB
  • Matrix / Runout (Runout side B): SPIEL 014-B SNB
  • Rights Society: GEMA
  • Label Code: LC 01070

Other Versions (3 of 3) View All

Cat# Artist Title (Format) Label Cat# Country Year
SPIEL14-5 Thomas Schumacher Tek 29(CD, Maxi) Spiel-Zeug Schallplatten SPIEL14-5 Germany 2000 Sell This Version
SPIEL 14 Thomas Schumacher Tek 29(4xFile, MP3, 320) Spiel-Zeug Schallplatten SPIEL 14 Germany Unknown
spiel14, SPIEL14 Thomas Schumacher Tek 29(12", Promo, W/Lbl) Spiel-Zeug Schallplatten, Spiel-Zeug Schallplatten spiel14, SPIEL14 Germany 2000 Sell This Version



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May 20, 2010

If you liked Thomas Schumacher's techno tunes with heavy hip hop influences (When I Rock and Who's Your Daddy are two of my favorite examples), then you need Tek 29 on the double. To keep it simple, this is the most banging, uptempo and ecstatic Schumacher contribution to electronic music with dope old school hip hop samples. The tracks starts out with some cool beat juggling and really cool "to the beat" beatboxed vocals (I am unable to trace down their origin though, as way too many old school MCs had that punch). Then, around the one minute mark, the "we cut the music with so much class" sample is dropped (sourced from a very unknown hip hop track from 1983 by a female MC called Dimples D, noted as what was quite probably Marley Marl's first ever production). The percussion intensifies: rapid, machine gun like drum rolls and a huge bass line. Seconds before the two minute mark mr. Schumacher really shows his crate digging abilities to the fullest, dropping the original "We're gonna rock this motherfucker like three the hard way" sample, scored from a hidden freestyle track on LL Cool J's debut album "Radio", recorded and released on Def Jam Records all the way back in 1985. After that one, Tek 29 goes all out. Slamming techno madness to get your necks snapping like we all were Rocksteady Crew break dancers! A really old schoolish break with cut-ups and old school "aha-aha-ha-ha" vocals fading out is dropped around 03:30, and then we have some more beatboxed samples hand in hand with Thomas' production wizardry. Basically, if you like anything techno orientated this man has done, trust me you will just love this one. It's one of the most straight up club friendly cuts he has ever done! A well deserved 5/5 from me, the samples are extremely well operated with and arranged.
The Wire Version is a two and a half minute shorter version of the original. It's the same track, alright, with the same samples and arrangements, but it's more on point. Believe it or not, the bass line is even more pummeling on this one, so if you thought the original wrecked your subwoofer, you will need a new one to play through this track. The only new addition is a reggae sample dropped during the break @ the three minute mark, but that aside, it's the same track minus the original length. Having two copies of this gem is a true treasure - playing both versions into each other and messing around with the samples will leave any techno fiend flabbergasted.
Side B: Tobias Schmidt is up to bat first, and he brings a laid back, broken beat techno tune, which holds around 20% of the A side's intensity and punch. It's a cool track in its own right, going on for almost nine minutes, it has plenty interesting melodies, breaks and the samples are dealt with in an interesting manner as well. However, I have to admit that in a version as toned down and relaxed as this one, the LL Cool J sample is totally out of place. Why would anybody drop such a furious vocal in a laid back, feel good track like this is beyond me. Totally unnecessary. About halfway through it morphs into a more traditional 4/4 techno tune. It's the least interesting here.
B2 is great. It's like a really deep house version of the original. Done in a really cool way, with a superb bass line which will just make you go out there and wield your fist high up in the air. The music develops very nicely as well, with plenty layers and sequences getting added throughout the track, and snippets of the original samples are filtered, edited, scratched in and out - overall if the original was peak time techno for the party's best hour, then the Hamburg Deadline remix is peak time house for those moments when the after party is reaching its momentum.
Skip this one at your own risk. I still haven't listened to about 50% of Schumacher's productions (mostly the post 2001 stuff), but out of everything I've heard by this man, nothing impressed me as much as Tek 29 did.