We’ve been itching to release this podcast since it was sent over; a real peach of a mix by Genius Of Time. Hailing from Göteborg Sweden, the duo have been putting tip top quality house music out since 2010, on their own imprint Aniara and the excellent Royal Oak Records. Their productions are raw and expressive, sounding like music made in the heart of Chicago rather than Scandanavia, and you can hear these U.S. influences poking through in their podcast. We’re happy to announce that you can catch the boys playing with Louche and Brawther in Room 3 at Fabric this March, and after hearing this mix we can’t wait!

The moment Alan became hooked on techno music was when he discovered Luca Morris, an Italian artist who mixed Detroit and German techno in the nineties. “More than often I listened to his mixes made between 1998 and 2001. Mixes that cannot be found on the web, they are like a sort of relic in the hands of the guys who experienced the magic at that time”.

Another great influence was Monolake’s ‘Polygon Cities’, an album Alan bought at Hardwax when he visited Berlin for the first time, back in 2005. The impact of Monolake’s music made him speechless: “I listened the cd time after time and kept asking myself where that sound came from”. His concept of music was taking shape and the following year he bought turntables and started collecting vinyl.

2006 also gave birth to ‘Thursdaydeep’, a laboratory equipped with studio monitors where Alan and his friends Enrico a.k.a. Status End and Stefano a.k.a. Oldste could experiment.
“Initially I sought my personal sound in deep minimal-techno”. But all the changes and nuances in genre influenced him and developed into an aesthetic, that kept floating in his mind. “There was a specific kind of sound, a sound that binds the surreal atmospheres of Monolake’s album, that bewitched me to the nineties techno played by Luca Morris, full of TR-808 and -909 sounds I love. The almost total identification of this sound occurred in 2008 with the first releases of Donato Dozzy on Aquaplano with Nuel.”

For this mix Alan grouped vinyls with smooth sounds in sleeves and dollies coloured in blue, teal, yellow, orange and white. Colours and artworks are important to him. “I started to mix imagining being light and surrounded by floating objects. I hope listening to this mix conveys this lightness”. A feeling also reflected in ‘Green House’, this podcast’s accompanying artwork by South-Korean artist Kyung Woo Han.

Soundcloud download & player: soundcloud.com/fiberfestival/fiber-podcast-11

Sebastian Mullaert has a solid reputation in solo too. His personal projects are mainly distributed via the Mule Electronic label, whether in the form of compilation (such as the incredible « Wa Wu We » released in 2010) or EP like « Älva ». For our podcast, Sebastian kindly gave us an excerpt from his long mix made in Kumamoto, Japan, just to see how he does it in the club…And he does it good.

New Values Beginning the 31st of December 2011, regular audio communications form Sandwell District will cease. All vinyl artifacts have been decommissioned. There is a possiblity of future, albeit irregular, print communications with audio accompaniment. However, details — and indeed content — is uncertain at this moment in time. The Sandwell experiment will exist through live actions — which will continue to expand into new sonic territory — in addition to audio / print installations as previously witnessed in New York, Los Angeles, Gdansk, Bialystok, Berlin and London. Stasis is death. See you on the other side.

On the same day they published this mix, entitled ‘(Sounds) Quarterly #1’ – a hint at more to be expected this year coming perhaps? Again it is yet to be seen; plus, the announcement thankfully does not mean that there will be no more Sandwell Distrcit, they’ll continue to function in their live entity. In fact we have them returning to our own disco on the Saturday 14th of this month – where they’ll be joined by Ostgut Ton’s Barker & Baumecker and Terry Francis.

So in the midst of the year end craze, take a minute to load up Brandub’s latest mix into your iPod. This hour of genuine dubby euphoria lift us many strata away from any superfluous concerns. Brandub applied his craft in his home studio, in the city of Cordoba, Argentina. His debut EP on Airdrop last year displayed Brandub’s inclinations clearly – a warm, comforting sound oscillating between deep house and dub techno.

We also take on this opportunity to announce that Brandub’s next release on Airdrop is now mastered and ready. The ‘Bank Side EP’ features three originals and a Beat Pharmacy take realized by Mr. Brendon Moeller. This project is set for release towards the end of January, bringing an extra layer of warmth in the middle of the cold winter. Kick back and relax!

A wonderfully composed selection from the breakthrough duo.

Italian-raised, Berlin-based duo Tale of Us are part of a movement, the signifiers of which can at times be nebulous. Hot Natured are a good point of reference. As is Damian Lazarus’ Crosstown Rebels imprint and parties like Circoloco at DC-10 in Ibiza. In fact, viewed through a wider lens it’s evident that the house sound with which the duo have become famed is a widespread trend. The sound arguably has its base in London but it’s unlikely that there’s a corner of clubland that it hasn’t touched in the last 12 months. It may have dropped at the end of last year, but the Tale of Us remix of Thugfucker’s “Disco Gnome” serves as a perfect encapsulation. Carmine Conte and Matteo Milleri have also completed re-rubs for Maceo Plex, WhoMadeWho, DJ T. and Gus Gus (among others) during 2011; coupled with the fact they’ve released only a pair of original EPs to date—through Visionquest and Barraca Music—they’ve rightly been marked out as remix specialists. In any case, it’s a tag that has facilitated them becoming one of the busiest breakthrough acts of the year.

With all this scene setting, you’d be forgiven for thinking that RA. 283 was comprised solely of druggy basslines, judicious sampling and DC-10 anthems, ticking along steadily at 120 BPM. Sure, there is some of that. But in the main the mix is delicate and displays what Tale of Us are about beyond their growing dance floor reputation.

What have you been up to recently?

MM: We have been gratefully touring and when not doing so working on new material, something we do constantly.

CC: And I have been searching the fridge for fresh food and eating cereal with my bare hands.

How and where was the mix recorded?

The mix was recorded at home in Berlin using straightforward Traktor with vinyl and then some final touch ups on Ableton live.

Can you tell us about the idea behind the mix?

Quite simply the concept behind the mix was to put together some of our influences of the music we are feeling and some really cool new stuff that was around us. We didn’t plan it for too long and it all came together quite nicely actually. The mix spaces though different genres and areas of music, from deep house to disco and also into bass/dubstep (whatever this is now?). This is an overall idea of how we envisage music to sound nowadays and what we will be aiming for in the future.

You seem to have been favouring remixes over original productions to date. Is there a particular reason behind this?

Basically we are our own biggest judges and are super critical of our productions. We really only have released one full EP up until now but still we are constantly inspired by the music people send. We always have an opinion on it and that is why we took on so many remixes in the first place, we enjoy giving our atmosphere and dimension to other people’s ideas and art. Taking somebody else’s art and then giving our own interpretation of it is super challenging for us. This being said, we have a lot of unreleased original material, which will stay so and we will pick only the best for our future EPs and album.

What do you feel has been the biggest component in your rapid ascent this year?

CC: I think it has been a combination of popular productions, fresh ideas and lively DJ sets accompanied by the whole breeze (not winds) of change that has overcome electronic dance music recently (more song based productions and pop melodies). We were inspired by it from the very beginning and we decided this was our time to start. Another component has been our management team and co-label owner (Life And Death) Manfredi Romano, who has helped us bring our concept to the next level. Two of his mash-up edits are actually in the podcast under his artist alias, Tennis.

MM: I think a lot of the rapid ascent has to do with our haircuts also.

What are you up to next?

MM: We have the next release forthcoming on Life And Death alongside Fink and Tennis and featuring a super remix from Ryan Elliott. Hold tight for that one!

CC: I’m going Halloween shopping.

This episode features Barrington Levy, Om Unit, Coralcola, Andre Obin, Sigmafly, Superliminal, Eric Van Aro, Marco Finotello, Meesha, Weight and Treble, Shinigami San, Burial, Essay and Village.

Techno through a bass music filter.

It’s actually kind of sad that Cosmin TRG’s exploration of genres has been a talking point—can’t an artist, you know, do more than one thing?—but such is life. The Romanian producer was a dubstep/garage dude when he started out back in 2007, hopped over to house for a bit and is now residing in techno country. One by-product of this restlessness is the name Cosmin TRG (or TRG as he was initially known) has adorned many a leading label these past four years—Hessle Audio, [NakedLunch], Tempa, Immerse Records, Hotflush, Hemlock and Rush Hour being merely a selection of them. The latest to put a welcoming arm around him was Modeselektor’s Fifty Weapons. Separat / Izolat, released at the beginning of 2011, signalled Cosmin’s intention to get truly stuck into the tough stuff, while it seemed the dream had been fully realised when it was announced in June that a full-length offering was in the works for Fifty Weapons.

Try as it might Simulat wasn’t quite able to shake off Cosmin’s roaming past—which is exactly what made it so great; RA.277 suffers the same affliction with exactly the same outcome. This is techno but not quite as you know.

What have you been up to recently?

Well, since finishing my album I’ve been playing some nice places, reading some pretentious books, putting together Ikea nightstands. Would love to say I’m working on my German but the truth is that every day I hope I wake up magically speaking it without the actual academic / linguistic effort. That would be grand.

How and where was the mix recorded?

In my living room, on a computer.

Can you tell us about the idea behind the mix?

I’ve been trying to put this mix together for the past six months, went through all stages of human emotion, made about a million playlists, tried to think of a very clever concept… It only worked when I woke up one day, played a few tracks together and it sort of clicked. Then it sucked, so I recorded it again. And again. In the end the idea was to put together some tracks that I really like, which convey my favourite sonics, from the past as well as the present. I think this one is as accurate as it gets at the moment.

Now that you’ve had some time to sit with it, how do you feel about what you recorded for the album?

Curiously I’m still very comfortable with it. Out of everything I wrote in the past years, it comes closest to what I want to sound like. The time I spent on it was the best time I ever spent in a studio, and I actually can’t wait to record another one.

You’re famously restless when it comes to genres. Do you see yourself sticking with techno for a while?

I’m restless when it comes to sound in general. I think genres are still too political. In my early days as a producer I’d find myself involuntarily trying to prove something, and I’m well over that now. I think my current format fits my ideas and I’ll stick to it as long as it suits what I’m trying to say. A lot of people are acting patriarchal over genres and it’s not something I’m into. At the same time there’s a thin line between experimenting and inconsistency, one which I skirt with equal amounts of pleasure and caution.

What are you up to next?

Going to turn in a Skudge remix about eight months past its deadline. I’m also happy to have contributed a track on the forthcoming Ann Aimee Inertia compilation. Other than that, a few more things before the end of the year and then taking on 2012 and whatever this will bring.

Download format : FLAC

(Thanks RV for finding)

In 2006, his talent has been discovered by a German independent record label Meerestief. With a remix that he has done for Dublin’s Five Green Circle’s track entitled Ronan’s BBQ has created a storm over Europe. Praised, supported and charted by heavy weights from the world of electronic music.

Then in 2009, Xhin has found a new home. He joined Berlin’s then new techno label,Stroboscopic Artefacts to release his dark, intense and experimental side of things. From the results of his new releases for the label, he has done it again. Heavy rotation from the big boys like Speedy J, Luke Slater, Ben Klock and many more to mention. This will be yet again the beginning of an old new direction for him to explore and experiment sounds even deeper for his future releases.
So what’s new and exciting coming out of his bag? A long awaited 3rd album since his 2nd one entitled Greyscale for Meerestief is set to be released on Stroboscopic Artefacts some time in late 2011.

Dadub is a meeting of two minds, Daniele Antezza and Giovanni Conti, a duo whose output is underpinned by a mutual curiosity. The result? Startling electronic music productions, one of the best live acts in the scene and the innovative Artefacts Mastering studio.
Twinned by a fascination of process, and a love of Lee Scratch Perry’s mix board experiments, they take dub and push it into the deepest corners of techno and out to the ambient fringes. Frustrated by identikit sounds in electronic music they set about pouring their technical knowledge together in search of innovation.
They describe their approach in the studio as ‘like making scent’. Dadub take sound and process it to extract depth and expose human warmth. With this studio outlook it was natural for Dadub to move into mastering. They delved in and Artefacts Mastering emerged: mastering that involves no presets and a policy of adjusting every track entirely from scratch. It’s exactly this type of discipline, their use of open strategies instead of formulas that also makes Dadubso dynamic live. Live they layer dubbing and synthesis, they take Dadub material and deconstruct or reconstruct it spontaneously. Their sets are seriously deep and have been showcased internationally at Barcelona’s Sonar festival, Germany’s Melt! festival and in clubs from Berlin to Moscow.

Special download

This episode features Joe Europe, Franky B AKA Cryptic Monkey, Darling Farah, Randomer, Artifact, J-One, Mouch, Krts, Landslide, Andre 3000/Outkast, Tony Blitz and Chesus

Over the last year James Fox seems to have rocketed out of no where and is now a rather familiar household name to most people into the House and Bass Music scene that’s bubbling along at the moment. With his first release on TAKE Records receiving a remix from Ramadanman on the flip, he made a strong arrival. Moving on from that, his debut for the brand new sub-label of Donga’s infamous Well Rounded too the scene by storm, easily making it’s way onto the list of top tunes for 2011. It seemed like the perfect time to get James involved in the TDS mixtape series. Away from his music career, James is also a passionate man when it comes to fine clothing, loving nothing more than a good browse of Liberty’s, so it makes twice as much sense.

For mixtape 015 James takes us on a smooth House trip that draws music from the likes of Maya Jane Coles, Photek, Julio Bashmore, Cosmin TRG and Doc Daneeka’s super-exclusive unreleased remix of Skream’s “Where You Should Be”. Overall it’s a very fluent mix that sums up what’s going on in the UK underground House scene at the moment.

Enjoy!

What approach have you taken for this mix?
“Musically I think it’s a pretty good representation of the kind of thing I like to play and listen to at the moment – deep bass driven house music that works just as well in a basement full of people as it does on headphones. Usually I would spend quite a long time working out how each record fitted together, then do a few takes of the whole thing and pick one, but this time I wanted to go for a slightly rawer feel – so I got a few beers in, had a couple of practice runs then recorded it in one take.”

Which track or mix is your personal favourite?
“Probably the Jackmate remix of dOP – I picked it up a couple of years ago and have been wanting to use it in a mix ever since. Great vocal, heavy production, fun to mix with. Also the Dorisburg tune, probably my favourite house track of the year thus far – super deep with a great bassline and bags of soul. D&M cut too, so sounds lovely. The last tune is a classic as well.”

What did you do the mix on?
“Two battered old CDJ800s and an Ecler Nuo 2.0 mixer, recorded straight into the computer.”

Is style important to you?
“Definitely. Deep down I’m something of a geek, so clothing and footwear is just another thing to get a little obsessive over.”

What brand(s) are you particularly feeling at the moment?
“I’ve been buying a lot of Our Legacy recently after being introduced to it by one of the guys who runs TAKE Records a while back; their stuff is great because it’s just simple, high quality stuff that looks good. I have quite a bit of APC stuff which I like for the same reasons, also Folk, Albam, Engineered Garments…”

What have you got coming up soon?
“Next release is a remix for Jack Dixon & Robin Card which is due on TAKE Records very soon. After that I have a couple of other remixes, then hopefully follow up releases for TAKE and for Well Rounded Housing Project after that.

I’m next DJing at Way Back Here in Dalston on August 13th with Elgato (Facebook event), then a Well Rounded showcase in Cardiff on August 19th, then Aeon Festival in Exeter with Bok Bok, Midland etc on August Bank Holiday weekend.”

This episode features Monoder, Meesha, Submotion Orchestra, Antiqute, TKR, Voyeur, Snoe, Rain Dog, a_Dub, Texie, Focus and Vlad Onu

Deadbeat is, in the broadest sense, an electronic dub artist, but his musical palette goes far wider, fusing his productions with deep, tech-laden ragga and crackly, sparse ambience. After producing for over 15 years, Monteith has indeed mastered his craft.

An ambient rework of a Pantha du Prince track opens up the mix, which melts into crisp, minimal dub from Sven Weisemann and works its way into heavier form, through Matias Aguayo’s much-used tech-house stomper ‘Dance Machine’, ex-Headhunter Addison Groove’s manic ‘Make Um Bounce’ and Dutch progressive-dub prodigy 2562, with a cut from his latest warped disco album.

The mix finishes with some typically refined but heavy dub atmospherics, via ‘Fourth Quarter (Cala’s House)’, one of Monteith’s own tracks taken from his new album, ‘Drawn and Quartered’, which is out now on BLKRTZ.

Founder of Echodub, one of the freshest Dubstep labels over the years, as well as being an established artist and DJ in his own right, Alex Cowles (DFRNT) has well and truly established himself in the world of Dubstep. Maybe not the most familiar name to those who like their Dubstep to reflect the sound of nails being dragged down a blackboard in random rhythms, DFRNT is well known to those that appreciate the deeper realms on the edge of the genre. Not content with putting out some fantastic music and running one of the more forward thinking record labels, in both sound and approach to releases, Alex has recently set up Cut, a netlabel dedicated to bringing the best free music possible.

For his mixtape, Alex has delved into the world of deep, dub-style 140bpm based music, resulting in one of the smoothest and most tranquil Dubstep mixes I’ve heard in a long time. Mixed with masterful precision, this mix effortlessly transfers from song to song, creating a true music journey.

What approach have you taken for this mix?
“The mix basically came from my desire to do a deep, dub-influenced mix. Something with hints towards roots, while combining that with the sounds of dub-techno and generally exploring the area of music I recently described as Echostep. I’ve given it the “Future Dub” title, just so that it’s perhaps a bit easier to understand the sound, but you get the idea…”

Which track or mix is your personal favourite?
“Oh man, I really love all the tracks on here. No exception. I could listen to every single track here for days. The Hatti Vatti tracks have got insane shelf life – “Different Music” has been a staple of my sets since it was released ages ago, and I never get bored of hearing 2562’s Pattie Blingh remix. Synkro’s “Hornz” is pretty much a guaranteed dancefloor favourite when I DJ live too.”

What did you do the mix on?
“A seat in my little studio.”

Is style important to you?
“I guess style counts for a lot in my world, yeah. Not necessarily fashion style, since I’m not always the most style conscious dresser, but from a brand or identity point of view with regard to my music and output yes. Things like Echodub, Cut, Sitting Ovation and Insight all have to have an element of style. I think a better description might be well designed consistency. Perhaps that’s what style is anyway?! Yeah, bottom line is I prefer style to lack of style. That said, musically if the sounds are good enough, then it can be substance over style in some cases. But then you could argue that “style” fell within the musical output in those cases. Blimey, this is getting deep.”

What brand(s) are you particularly feeling at the moment?
“I just saw the latest artist series from Addict actually, with the Disney stuff, and it’s the first time in a while I’ve said to myself “Damn, I need to get some new T-shirts” haha. I recently got some Fenchurch stuff I liked too, but I’m not really buying much these days. In fact, even things like trainers which I used to buy a lot, I’ve been holding back on recently. Since Dunks started coming in terrible gawdy, nonsensey day-glo colourways, I switched to buying Supra high-tops. Even that has been cut down of late though. I’m trying to stop accumulating “stuff”.”

What have you got coming up soon?
“I’ve got a big EP coming on Nu Directions, with remixes from Jus Wan, Jack Dixon and ASC. That’s going to be limited edition CD, and a 12? plus digital. Then I’ve got a few digital releases set for this year. Toffler records in Italy are putting something out, Gradient Audio are releasing an EP, Subdepth are putting an EP out, I’m hoping to get one out on Echodub, and there’s a couple of others I can’t mention. I’ve got remixes due for Unquote (just out I think), Jack Dixon, Quantec (if it ever surfaces) and I’ve started a new line of production which has seen some good feedback so far. I’ve also got other people’s music forthcoming on Cut and a nice big album project coming from the talented Muteqx on Echodub, followed by some really awesome digital EPs.

I’m also planning something of a tour of the USA again this year after the success of last year’s DJing over there. This year I’m planning on seeing as much as I can, in a shorter period of time.

All that, while trying to keep up with good music via Sitting Ovation posts and also putting out my fortnightly podcast Insight!”

This episode features Bryn Thomas, James Fox, Modual, J-One, Luthor, Rob Sparx, Dee Ellington, Ak0pian, Klatu, Essay and DFRNT

Known for his proficiency in producing both refined techno and dubbed-out texture tracks, Moeller’s Clash mix sees the artist starting off by exploring a dancier track selection than expected, initially characterised by crisp techno, but one which soon delves into the spacious areas (courtesy of Frank Bretschneider’s minimal click journey, ‘Flight 09’) often favoured by Moeller himself in his dubbier moods.

Things then take a darker turn, via Norman Nodge’s aptly named ‘Breakdown’, before the trippy bleeped nightmare of Oni Ayhun’s ‘OAR 004 A’. Scary but satisfying.

A clever, mood-shifting mix, and as you’d expect from Moeller, with over 15 years production experience under his belt, everything here has been carefully scrutinised and masterfully mixed.

‘Subterranean’, Moeller’s latest album, is out now on Steadfast Records.

this is my version of Borrowing The Past by Rhian Sheehan
share some love to Rhian Sheehan
share some love to the world :)

No tracklisting for this as it is a livepa, but it based mainly on their most recent releases. If you are interested in hearing more of their sounds, I’d suggest trying to track down their “Tvenna” EP and also the “Lost & Found” EP they released earlier this year. You can get their releases at the Einóma bandcamp, and for more info check their homepage. Big thanks to Bjarni and Steindór for making this recording for the ssgs. Enjoy!

Born in Italy soon to be moving at the tender age of 6 to find home with his family in Belgium, country where pioneer techno labels such as R&S and Music Man found a home too.

Strongly influenced by the early sound of electro and hip hop and by movies such as Wildstyle, he progressively got more interested in the electronic sound.

After discovering acts such as Dave Clarke, Derrick May, Jeff Mills and The Advent it was clear for him which was the direction he wanted to take. He started expressing his love for techno music through a pair of decks but soon realized he needed something more and started producing.

When he moved in Bristol (UK) he found a very dynamic musical scene and started together with D-Gelo promoting succesful club nights Out Of Phaseand later Cuisine that brought some of the best electronic music acts to the city, and that became one of the most important audio-visual collectives in the UK. During this years he refined his dj skills playing alongside with The Advent, Tadeo, Peverelist, Tony Rohr, Oxia and Apparat between many others. Today he is international resident for the Emergent nights taking place in the Blend Club in Athens and promotes the b.low nights taking place in the Razzmatazz in Barcelona.

In 2003 he finally decided together with D-Gelo to form officially Micropunto Schallplatten, a concept that both had in mind for a long time and that today is reality.

Now living in Barcelona, he has been lately very active in joining his love for techno and the fertile ground called dubstep. His productions in both styles are influenced by Detroit and dub techno.

Released by: Cut
Release/catalogue number: CUT002

This 2-track EP is a beautiful, relaxed, almost meditative take on dub-influenced techno. Lose yourself and drift away with Essáy’s Distance & Lights EP.

Preview

This episode features Essay, Henry Oakley, Borth Sea Defence, Lamech, MFS, Delete, Dadub, Excision, Ghostek, Hatti Vatti, Kontext, Seba and Stunna

Dutchman Jeroen Snik  – AKA Icicle – is a shape-shifting entity in the world of drum and bass.

In fact, he’s difficult to keep pinned down to one scene in particular – using the drum and bass drum pattern as a template, this innovative and prolific producer crosses into the realms of house, techno, dubstep and chill out with his influences – all with the slightest turn of hand – with every track sound crisp, fresh and starkly  cold with his trademark fattened drums and detailed ambience flowing through.

He’s released tracks on nearly every decent drum and bass label around from RAM toRenegade Hardware, and gained much hype after releasing Dreadnaught on Shogun Audio – the label that he chooses to stay in to release his debut full length ‘Under The Ice’.

DT welcomes Icicle to the fold with open arms as he turns out a creative and interesting ride through drum and bass, also splattered with his much hyped productions. So sit back, open your ears and prepare for the blizzard – a storm is about to kick off.

What’s your personal favourite track on it?
Dark and deep techno to dubstep to drum and bass. I’m really into the Blawan track.

What’s the special ingredient in this mix?
I’d say the blend of different styles. For me it really keeps recording podcasts interesting, I can experiment a little bit more than on the dance floor.

What’s the best gig you’ve played recently?
I just played in Paris last weekend amongst other places. I had never played there before so it was a long time coming. It turned out to be great. The atmosphere and people really made an impression on me.

What have you got coming up?
So many gigs I can barely keep track. Im touring my album ‘under the ice’ right now. All the dates are on www.undertheice.org.

And finally, do you have a special message for our readers?
Stay in school and buy my album!!

Ruskin and Regis are live.

O/V/R is the production outfit of James Ruskin and Karl O’Connor, AKA Regis. The pair are techno figureheads in their own right. Ruskin is boss of the long-serving Blueprint label, an outlet which since 1996 has been one of the go-to platforms for quality UK techno. Regis, meanwhile, has been playing and producing music since the early ’90s. He began the seminal Downwards imprint in 1993, which to this day is still emitting “bleak, imperious” post-punk and techno, and rolls as part of the Sandwell District collective. As O/V/R the pair has proffered a pair of 12-inches to date. The most recent, 2010′s Post-Traumatic Son, was fleshed out by three sets of remixes, which featured versions from Marcel Dettmann, Ben Klock, DVS1 and Robert Hood.
“The O/V/R live shows are based around a collection of increasingly random equipment, and tend to swing between structure and total chaos,” Ruskin told Juno Plus earlier this year, although you wouldn’t necessarily have guessed as such from this measured performance. Over the course of an hour their set is at once imposing, bleak and triumphant—techno at its most refined.

How and where was the mix recorded?

The set was recorded live in Berlin earlier this year.

Can you tell us a little bit more about the idea behind the mix?

It’s a live interpretation of the O/V/R sound.

How and why did the O/V/R project start out?

The project began around five years ago. We were working together at various gigs and from that we decided to move the project into the studio, but allow the music to evolve before anything was released. It was important that we began releasing the material at the right time, and the re-launch of Blueprint was the perfect opportunity.

How does the project work in the live setting? Who does what?

We have a main idea of how the set will be structured and how it will evolve, but this can be deconstructed to suit the environment we are playing. The sequenced material is coupled with various effects units and sound generators that are manipulated and played manually within the set.

What are you up to next?

We have various ideas and material ready, and now that the Post-Traumatic Sonseries has come to an end we can put together the next release.

Extras

Check their liveset at Kinetic

http://media.motortechno.org/OVR_(Regis_and_James_Ruskin)_live_at_Motor10-10-08.mp3