When David Moufang and Jonas Grossmann decided they needed a name for their embryonic recording padopted was both a statement of intent and a strikingly apposite representation of their music. Thave charted territories so far unexplored by any other techno artist, yet they remain largely unjournalists and enthusiasts. This is, in part, due to the limitations of their small, self-financhome for most of the group's output although some fans claim it is merely because Deep Space Netwmusical developments to achieve mainstream appeal.
There may well be some truth in the claim. Working from a nexus of influences that includes Juanand John Coltrane, Deep Space Network have taken the original principles of techno and extrapolatmaking the kind of bold imaginative leaps that characterised their prime sources. Tracks such as from EARTH TO INFINITY (1992) sound less like May's famous definition of techno as "George Clintoelevator with only a sequencer for company" and more like techno and jazz imprisoned on a strangesupply of DMT to keep them occupied. The results are both astonishingly beautiful and staggeringltrack from Deep Space Network's second album BIG ROOMS (1993), uses ambient bird song, spoken worand electronics to calm, seduce and hypnotise. Yet the feel isn't one of sprawling eclecticism - much more in common with the focused, modernist purity of Detroit techno than a simple reduction suggest.
Deep Space Network's origins stretched back to Moufang and Grossmann's school days, when they weschool. In the wake of acid house, Moufang and Grossmann met again in a local restaurant. "Jonas Moufang. "He hated electronics, he only liked jazz. I played stuff to him and we ended up making album. We didn't have the patience to send it off to record companies and so we put it out ourselRecords - a label which has developed the kind of underground cachet also enjoyed by the likes ofand the quiet, understated but definitive genius of Deep Space Network. Soon after the release of BIG ROOMS, Source released two videos - LIQUID SCREEN and SYNCHRONISEDoffered some clues to what was going on inside the heads of Moufang and Grossmann. Alchemising wifreefall, satellite pictures of distant planets, melting film and static interference, the videosSynchronised Chaos TV - provided a visual analogue to the spaced-out sounds on record.
A live performance at 1995's Love Parade in Berlin was recorded and eventually released as TRAFFbetween the calm, instrospective tech-jazz of Moufang's solo work as Move D and Deep Space Networsurges, the new tracks suggested a gentler, more reflective style of innovation than had been headevelopment was confirmed later that year with the release of DEEP SPACE NETWORK MEETS HIGHER INTAGENCY.
A new Deep Space Network album has been slowly evolving since the summer of 1997. Early reports development of the Deep Space Sound with Moufang playing live drums alongside the intricate tanglwhich has become the group's trademark.

l Earth To Infinity (1992; Source Records) The title sums up the trajectory of this music. TracksMars" mark the furthest outposts of techno's innovative orbit.

l Big Rooms (1993; Source Records) Deep Space Network seem to have a way with titles. The mood ofperfectly articulated by "The Beyond Within", a concept that may already be familiar to listenerssound. Electronic genius? Of course.

l Traffic (1996; Source Records) Recorded live at Love Parade. Seven new tracks, seven new reasonJonas Grossmann are revered by fans of forward-thinking techno. Superb.