A world out of tune. De-tuning notes has been central to house and techno since the early days in Chicago. 17:50 is where this bitter-sweet feeling turns systematic: the whole Western harmonic standard is thrown overboard and replaced by pitch systems of beautifully alien yet incredibly catchy melodies, bass lines and chords. It is probably the first new melodic concept to enter house music since the days of acid.
In a field of music whose innovations seemed to have come to an end, pitch bending opens up radically fresh possibilities. Tones never stand still but are bent and re-tuned for maximum expression. 17:50 moves through real-world micro-tonal systems without ever sampling any ethnic sources.
The tunings in 17:50 have been tried and tested for centuries from Sofia to Bandung and thats why they rock a party even with the "silliest" hooks (something academic Western avant-garde tunings never did). As an approach to sampling, the albums innovation lies in extracting just one single parameter: pitch information. No fat, just bones. This method of dance floor abstraction appealed pretty much to Stefans mixed Bulgarian and German identity, having grown up on tones that sound a little whack for Western ears.
All sound design has been built independently from scratch with warm synths, analog drum machines and loads of dirty distortion. 17:50 is as much about pitch going crazy as about celebrating a rough, vivid hardware sound. Bend the pitch and the mind will follow.