It can be the similarities between two people that draw them together, but it’s the differences between them that create something special. Just like the functional dial that governs the left and right axis of the stereo field, it would be nothing if those two polar opposites failed to meet in the middle. Such is the story of Pan-Pot. In the last decade, Pan-Pot—comprised of Tassilo Ippenberger and Thomas Benedix—have developed a dominate presence in the upper escilion of electronic dance music, with an ascension paralleling very few who have come before or since.
Tassilo and Thomas met at Berlin’s renowned SAE, and were drawn together as they were the only two in their studies who had their sights set on the sound of techno. Their initial musical efforts placed a primacy on integrating electronic experimentation with minimal stylings while simultaneously establishing the ominous, murky sounds that have since become synonymous with their name. The next few years saw the release of a steady stream of original tracks and remixes on both Mobilee and Einmaleins, each demonstrating the duo’s commitment to precise, undulating and kinetic grooves accompanied by a steady expansion of their sonic palate.
The defining moment of Pan-Pot’s career came in 2007 with the release of their debut artist album, Pan-O-Rama. The aptly named long player offered a 360-degree view of techno that was unique, uncompromised and most importantly