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Frank Haag is known as one of the forward thinking underground techno producers in Amsterdam that challenges electronic music with a deeper sense of understanding.
His "Tales of the Burning Range Rovers" EP on Cesare VS Disorders Berlin based Serialism Records was charted by Troy Pierce, Quenum, Arnaud Le Texier, Sierra Sam, among others. Furthermore, it featured in Marco Carola's Resident Advisor Podcast.
In 2012 his bootleg of Depeche Mode is played by artists like Tale of Us, Jamie Jones, Laura Jones, Ryan Crosson, Matt Tolfrey, Chloe, Magda, Troy Pierce, Clement Meyer, Jeremy P Caulfield and Patrick Bateman.
Thanks to this remix and his new release on Paris' Get The Curse Music, 2012 is the year that Frank get's his fundamental international recognition.
Frank rocked at clubs like Arma17 (Moscow), Watergate Club (Berlin) and Rex Club (Paris)and played in cities like Glasgow and Novi Sad, and he continues to increasingly travel the globe to bring his music.
Frank Haag's sound has an always substant and profound approach. His music has a certain sense of value, often combining the organic with the sonical abstract. Having studied Sonology at the Royal Conservatory in The Hague for several years, he has been and still is experimenting with analog and digital studio techniques by making mutiple channels compositions. As Frank Hagemans, his real name, focus lies on concrete music, also seen as sound art.
Haag's history takes us back to the south of Holland where he grew up with his two elder brothers and sister. Coming from a family that is very involved in classical and jazz music, harmony and funk is automatically embedded in his roots. Through his older siblings Motown and over-produced `80 bands like Toto became his favourite listenings. Michael Jackson impressions were a daily routine. As a bass player, he played various gigs around the south of holland in the midst of the 90's grunge movement. When not rehearsing with a band, Frank's musical curiosity continued.
Probably as a result of being used to hearing so much acoustic and "humanly" composed music, he became more and more consumed by the machine made and electronic sounds of house, techno and IDM.
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