From his basement, somewhere in the heart of the universe’s underbelly, DAMIAN LAZARUS brings you LAZPOD - an excursion into weird and wonderful sound …

A breath-taking regular podcast, hosted by LAZARUS, that features some of the special records he plays around the globe’s most happening parties, mixed up with the various different styles of music he likes to listen to at home; comedy moments spliced up with funk, latin melodies played next to soundtracks, plus cosmic disco, techno and rock… it’s all here in this fresh new show…

Subscribe, sit back, relax and welcome to Lazpod…

Une émission de radio présentée par Thomas DI MATTEO enregistrée live au ZERO ZERO tous les mercredi, orientée disco funk et modern groove.

Location: Manchester, UK
Format: Studio
Duration: 74 min
Size: 102 MB

If, over the last 20 years or so, you’ve spent any time near a discotheque, radio, TV or one of those spangly new pieces of kit designed to listen to music digitally, you will have been privy to some of the quite marvellous sounds touched, in one way or another, by Kelvin Andrews and his younger sibling Danny Spencer.
Now, if those names aren’t instantly recognisable and feelings of sonic inadequacy have set in, don’t fret, Kelvin and Danny might not be household names, but rest assured, having written a number one single with one Robbie Williams Esquire, remixed the likes of Sister Sledge, The Doobie Brothers and Aretha Franklin and been lauded as acid house heroes (Kelvin was one of the first DJs pushing the incendiary sounds back in the late 80s, while Danny gurned his way onto Top of the Pops and the cover of Smash Hits thanks to his brief flirtation with proper high street fame as a member of Candy Flip), they have helped soundtrack some of the last two decade’s most symphonic moments. Not bad for a couple of lads from Stoke-on-Trent, who like a cracking bottle of red wine, Keith Richards or Steven Gerrard, just seem to get effortlessly better with age.

As well as being their first love, music was always going to be their saving grace. Their dad was a former singer and guitarist, who, having issued records on such iconic labels as Pye, Decca and Parlophone, released his last album in 1964 – coincidentally enough, also the year of Kelvin’s birth. Records of every hue crowded the house.

“Ray Charles, Frank Sinatra, funk and jazz,” recalls Kelvin, noting the music which resonated through their Stoke home.

“Even the odd Kraftwerk album would be knocking around,” remembers Danny. “He dealt in quality.”

And when their dad began working behind the scenes – primarily for a company that specialised in bringing black American artists over for performances in the UK – he became fast friends with the likes of Ben E King and Junior Walker.

“My dad’s got lots of fantastic stories from that time,” says Kelvin. “It was a bit strange us being from Stoke. It soon became apparent that we were a bit different from the rest of the kids at school.”

“Yeah,” sniggers Danny. “For ages we thought everyone had soul singers staying in their living room.”

It was to take a cheeky incident with a can of blue paint, his father’s record collection and his own inquisitive mind to cement Kelvin’s passion. Having daubed half his dad’s records blue, in some proto modern art experiment, when he was still young enough not to know better, it was demonstrated to Kelvin what the circular pieces of shellac were really for. In typical youthful fashion, ‘that was it’.

By the early 80s, Kelvin was DJing in an underground club called, curiously enough, The Basement and soaking up the vast array of musical revolutions that seemed to be occurring on a weekly basis: hip hop, post punk, electro and early house were all up for grabs and Kelvin was devouring them religiously, as well as schooling his younger brother. For his part, Danny won awards for his breakdancing.

House music was their real year zero though. Kelvin got his hands on an early copy of the seminal primer The House Sound of Chicago and the pair were hooked. “Everything else was irrelevant,” they both proclaim. Indeed Danny went straight into the studio as an ebullient teen and fashioned Ride The Rhythm under his evocative This Ain’t Chicago moniker. It shot to number 41 with a bullet.

Both became disciples of Manchester’s famed Hacienda nightclub, and it was after one particularly messy night down there that Danny hit upon the idea that would precipitate his first brush with fame and notoriety. Buzzing off DJ Graeme Park playing Fresh Four’s cover of Rose Royce’s blissful Wishing On A Star as the last tune of the night, he and his studio partner Ric Peet decided to try and emulate such a scenario. In a moment of serendipity, The Beatles Strawberry Fields Forever was the only song they could listen to on the radio while driving home. The temporary monster that was Candy Flip was thus conceived. A number three hit ensued, as did the aforementioned visit to Top of the Pops and that Smash Hits cover.

For their next project, the boys, typically, went underground once more (one defining feature of their careers, whether individually or collectively, has been their capacity to equally exist in the full glare of the mainstream or bury themselves in the dusty crevices of the leftfield). Having been one of the original residents at Stoke’s infamous den of iniquity, Golden, Kelvin was adept at reading his dancefloor and alongside Danny he transplanted these skills into the Sure Is Pure production team. Remixing the likes of Aretha Franklin, The Doobie Brothers, Sister Sledge, Lulu and Dave Stewart into dancefloor gold, it appeared the boys could do no wrong.

“We felt we could remix anything,” remembers Danny with a hint of mischief in his eye. “Then we got given Bucks Fizz’s Land of Make Believe. Our reworking was awful and it taught us a lesson – namely, that we couldn’t remix everything!”

During this time – the mid 90s – the brothers also initiated their Pharm imprint, in the process displaying another glimpse of their enduring ying and yang dynamism by sending the magical Remember Me by Blueboy from the nation’s dancefloors to the toppermost reaches of the poppermost hit parade.

It’s an ethos that in the heady days of acid house was termed Balearic – a strident belief that music should not be dictated by genres, rather the almost quaint notion that there exists only two types of music: good and bad. And that within this framework anything goes.

And so it went that the pair’s next project was arguably their most Balearic outing to date. Sound 5 were an experimental pop band attempting to locate the missing ground between the Pet Shop Boys and the Beach Boys. Although their ambitious undertaking never got the attention it so patently deserved – bruised egos and record industry machinations came into play – listening to the likes of Future’s Bright and Heavy Transit from their sparkling No Illicit Dancing longplayer today confirms the idea that their hotch potch musical quilt was just unfortunately ahead of its time.

From despair though came their greatest success. Robbie Williams had long been a fan of Danny and Kelvin’s due to their shared birthplace, so when the erstwhile ‘fat dancer from Take That’ (thanks, Noel Gallagher) suggested they get together with him in the studio, Danny and Kelvin could finally put all their stored wonky leftfield pop nous to good use. The resulting Rock DJ single gave them a number one single and even an Ivor Novello nomination.

Latterly, the brothers worked on Robbie’s Rudebox album, giving the title track in particular an added electro authenticity. Indeed such is Robbie’s admiration for Danny and Kelvin (they continue to work together – most recently on Robbie’s Inner Sanctum fan club releases), he has compared the duo to one of contemporary music’s most garrulous characters. “It’s like finding two Pharrell Williams in Stoke-on-Trent,” he has proclaimed.

This collaboration has continued with their role as ‘Central Midfield’ on Robbie’s new album, ‘Reality Killed the Video Star’. They spent the best part of the last three years camped out with Rob in LA and occasionally in Stoke, writing huge numbers of songs – some way too weird to make it on to a Robbie record as he himself has recently pointed out. However, the backbone of the latest album comes from those sessions with their guiding hand behind all but 3 of the album’s tracks. It has seen them truly extend themselves away from their house music roots to include 50’s Doo-Wop, Pet Shop Boys influenced 80’s pop as well as the Robbie staples of anthemic string laden balladry and puff-chested rock.

That’s not to say that they have left the house music underground for good though. Soul Mekanik is Danny and Kelvin’s latest missive from the dancefloor. Their most recent 81 album was charming leftfield house at its very best, doffing its cap to its myriad influences (seemingly every electronic movement since the titular year in question has been sifted into the mix), yet never beholden to one style or aesthetic. Very Balearic you might say.

Their involvement in the shadowy dealings of the Creative Use re-edits and bootlegs continues to inspire and Kelvin can still be found at the DJ coalface indulging his passion for all things cosmic.

Now that they have a little time to think of things outside their Robbie Williams role, they are working on finishing a slew of club tracks that they have had under construction during that period. 2010 sees them back as Soul Mekanik, showing the new kids how it’s done.

Make no mistake then, the history of all forward-thinking music, whether it be pop or underground, or both, over the last two decades is shot through with traces of Kelvin Andrews and Danny Spencer. Rest assured the future will be too.

Now here’s something to wake you from your electro-induced stupor: an exclusive mix from Pursuit Grooves – New York producer and vocalist Vanese Smith – whose distinctive blend of dubstep, nu-jazz, hip hop and electronic soul provides an intriguing and welcome addition to the heavier back catalogue of Tectonic Recordings.

Beginning with a gentle dub-reggae track from Rhythm and Sound, Vanese’s mix gradually melts into deeper and darker territory – via the likes of Dutch dubstepper Martyn – but without ever losing the warmth and soul that characterises her own music, some of which is thankfully present here. Other featured artists include talented electronica production duo Mount Kimbie, fellow jazz-experimentalist Jose James and Harmonic 313, whose considered glitch hop rounds off Smith’s mix perfectly.

Released earlier this year, Smith’s latest album, ‘Foxtrot Mannerisms’ is the result of this fascinating musical palette and considerable vocal and rhythmic talents, and comes highly recommended. Truly a one to watch, what better introduction to Vanese’s considerable skills than by indulging in the blissful, bassy tones of her Clash DJ mix.

Pursuit Grooves will also be playing at Fabriclive in London, on Friday 11 June, where she performs her UK debut live show alongside some Tectonic veterans, including Pinch, Skream and Kuedo. In Room Two, meanwhile, you can catch D&B talent Zero T – launching his ‘Fabriclive 52’ album – as well as Ed Rush, Wookie and a host of other names, while dBridge & Instra:mental head up Room Three.

after being responsible for a classic mix on the site we are very happy to welcome back grovesnor to these shores.

mr smoughton is back with a new album on lo recordings that continues his love affair with pop music from the past by making pop music for the future. you can pick up ’soft return’ now from all friendly record clerks.

as we said grovesnor’s previous mix for us was a classic and this new entry raises the bar even furthur. wide ranging, fun and beautiful it is heralding in summer round our way. we’re taking a few weeks off while we spruce up the site and this mix is the perfect way to leave you hanging.

“These guys don’t really have a bio, they are so funny like that. Well anyway, you need to know that these are 2 Swiss cheese Muthafucka’s who re-installed their rumps in NYC in the 80’s, 90’s or whenever (they are sooo old!! heh-heh).” So reads the bit where you’d usually find a biog on the website of New York-based Swiss disco duo In Flagranti. As you can tell from that description and their soft porn artwork – and indeed from this podcast – a sense of humour is key to what they do.

With a love for everything in and around disco and its sub-genres and bastardises offshoots, the duo started their Codek Records label back in 2002, and since amassing a healthy underground following, they’ve cropped up on labels like Kitsuné, Gomma and Erol Alkan’s Phantasy Sound.

Ahead of their set in our room at Together at The Coronet in London this Friday (23^rd April), they’ve put together a two-part mix – with Sasa digging through early disco experiments, and Alex sifting through some of his favourite ‘70s cheese. The Cliff Richards song at the end is actually awesome.

Get your ticket for Together at http://www.datatransmission.co.uk/ViewEvent/4007/

Sum up this podcast in 10 words…

Sasa: New.

Alex: Dance-Yourself-Jeans-Baccara-Luisa-Gas-Mono-Salsa-Rio-Joy!

What’s your personal favourite track on it?

S: Doris Sana – Pseudo Wind

A: Baccara – The Devil Sent You To Laredo
http://www.youtube.com/watch?v=qnG5GAwLWVM
when I was a kid, this was great, the girls from Baccara, sexy Latinas singing cheesy songs. I remember watching them with my grandma on her first TV in colour!

What’s the special ingredient in this mix?

A: A selection of proto-disco from the early ’70s, music that was popular when I was growing up.

S: Just a random pick

What’s the best gig you’ve played recently?

A: In Basel a few weeks ago. I was booked for a 1 hour set and played 5 hours.

S: Kitch Club in Knokke, Belgium.

What have you got coming up?

S: Sounds Superb Vol. 7
In Flagranti feat. Natalie Samash – Through The Rabbit Hole

A: More brand new vinyl coming from codek.com

And finally, do you have a special message for our readers?

A: Check out my monthly top 10 list on junodownload
http://www.junodownload.com/charts/dj/632396-In_flagranti/396929-Chart/

And now for something completely different. For this installment we have called upon the little heard of Drop Out Orchestra to record a mix, and they have delivered a set which is little like anything you have heard from our podcasts before. The mix is an eclectic journey through funk, soul, disco, motown and house, comprised mostly of old forgotten tracks and edits from the guys themselves. Their identities remain a secret, and all we can really tell you is that they are a Swedish family of musicians who are old enough to have heard such music the first time around! It’s an honor to put out such a rare podcast, we hope you enjoy it as much as us.

Author: dOP.
Also know as: Damien Vandesande, Clement Zemstov, Jonathan Illel.
Publish in: Circus Company, Rebirth, Supplement Facts, Milnor Modern, Orac Records, Einmaleins, Get Physical, Eklo, Simple Records.
Related artists: Wareika, Guy Gerber, Nóze, Catz N Dogz, Guillaume & The Coutu Dumonts.

Del Jardín Latino: -Tell us about the set.

dOP: -It’s a set of music we like and listen regulary,we’re not dj, so we concentrate on the selection. It’s music to enjoy in your car, in your bed, in your bath, and when you clean your house.

DJL: -Which are your future plans regarding releases?

dOP: -In june the watergate compilation will be release, with almost only new tracks made with friends. And in october, our first album will be release on Circus Company.

dOP: -Yes for sure !!! we never been there, we have some options, but we wait to plan a real tour there to have some time to meet the people, discover the landscape and the cities. We are very very excited about going there. We can’t wait.

As well as producing a spanking new issue of Clash Magazine every month, we’ve also been busy this year providing an audio accompaniment to each issue.

To this end, we present a round up of this year’s Cross Section download albums. Each bursting with a month’s worth of tunes from the band’s we write about.

Check out your favourites and discover 2009’s wealth of great, new talent.

Visite www.clashmusic.com

Published / 16 November 2009
Filesize / 104.62 MB
Length / 01:27:09

One of Sydney’s finest steps up with a mix of techno, soul, funk and house.

Simon Caldwell is what you’d call a DJ’s DJ. A fixture in the Australian party circuit for nearly two decades, Caldwell can play sets in nearly any genre that you’d care to name—or all of them at once, if the party requires it. As part of Sydney’s Mad Racket crew—a group that has brought the likes of Moodymann, Andrew Weatherall, John Tejada, Jamie Lidell and more to the city—he has to constantly be ready to read and react to what the crowd wants and needs.

Caldwell learned the value of diversity early on in his career, taking on a radio show in Sydney in 1991 that specialized in house, jazz, funk, soul and hip-hop which soon led to a residency at a night called All Funked Up at the Bentley Bar. Caldwell soon held residencies on six of seven weeknights at the venue, working in a variety of genres to ensure that the Bentley’s sound was never stale. He’s done the same at some of Sydney’s biggest venues, Home and Chinese Laundry, as well. And on his RA podcast, Caldwell does the same as always, showcasing the many sides of his musical personality, moving effortlessly through dubby house, tech house, funk, acid, ambient, soul and disco. It’s a nearly ninety minute mix, and Caldwell takes advantage of every minute of it, proving that he can handle almost any DJing situation you throw him into.

What have you been working on recently?

Mainly working on the Mad Racket parties. We just had our 11th Birthday party with Chris Duckenfield, and now we’re working on New Year with Pepe Bradock and a show for Sydney Festival in January. Plus I’m always trying to make a living DJing in Sydney and occasionally in other capital cities around Australia.

Where and how was the mix recorded?

I recorded it straight through in one go at home, using 3 x Technics SL1200Mk2 turntables and a rotary Rane mixer on a hot and humid afternoon in Sydney.

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

I wanted to do a mix that represented a bit of what I was about, rather than a really straight-up club mix on a single vibe. I am into a varied range of music, and I play all sorts of gigs in Sydney, from super-chill bars and funk gigs to big techno and house nights, so I guess I wanted to present some of that diversity in the set, while still keeping it house and techno-based. It’s always hard trying to compress a lot into 90 minutes, but hopefully the mix will convey an idea of what I am feeling.

You’ve been running Mad Racket in Sydney for 11 years. Tell us about the party. How have you’ve kept it going for over a decade?

Along with my three partners, I have had the great luck to be part of a crew of DJs and punters who keep coming back for more! It sounds clichéd, but we all really just put the parties on to be able to play our music to people who want to hear it. These days we do about nine parties a year, roughly half all-local, half with international guests, so it doesn’t get stale because each party is an event in itself. We hold them at a lawn bowls club outside the city, so it really does feel like you are escaping the nightclub world into a little private oasis when you come to a party. We bring our own sound and a few flashing lights, decorate the place and dance until dawn. Many of our long-term punters now have to get babysitters for the night, but they still come every few months, and we are always encouraging younger folk to join us to avoid the generational shift completely. Some punters have kids old enough to come along now.

You’ve also had a long running involvement in radio. How important is radio in Australia? What do you get up to on your show?

I think radio is always important, and has a part to play in spreading music to places it wouldn’t normally go. Particularly in Australia, where there is still only a fairly small electronic music scene, radio plays an important part in presenting new music to people and giving local artists a place to have their music heard. Unfortunately, most commercial radio has absolutely no idea about dance music, which I am sure is not confined to Australia.

Most cities have several community (not-for-profit) stations, each with a different focus. Over the past 16 years I have been on three different stations, and am currently doing a 6 – 8 PM Monday spot on FBI Radio. On my show I simply present music in a live mix each week, playing a variety of stuff, keeping the talk to a minimum apart from the odd interview. The station I am at now has a fairly young core listenership, so I try and give some context to the newer music by playing the odd set of ’90s house or some other “older” styles, as well as throwing in older tracks with the new, because I think it’s important for people to have some idea of the history of the music. Some weeks I will do a special on one style, but mostly it’s quite mixed. I also try and get guests on my show regularly, sometimes internationals that are in town and often local producers and DJs.

Finally, what are you up to next?

Summer is fast approaching here, so festival silly season is just around the corner, which has its good and bad sides. I’m currently in the process of moving to the beach, and then trying to finally get some tracks of my own together. Then planning Mad Racket for 2010 and thinking about doing a PhD one day.

Ian Simmonds präsentiert für den Freude am Tanzen Podcast eine Auswahl seines Schaffens. Viel Spass!

http://www.avegasweb.com/podcast/Galaktika_Podcast105_40_Thieves_July2009.mp3

Based out of San Francisco, the 40 Thieves are a music collective, DJs and friends. Drawing on various superpowers the members combine forces to create their own brand of future/soul/dance songs and short comedy skits for Smash Hit and other fine labels around the globe.

For our podcast this exclusive mix that represents what they are currently playing.

www.myspace.com/40thievesahoy
www.smashhitmusicco.com

Source : Galaktika

http://ra2.residentadvisor.net/audio/RA151_20090420_Bill-Brewster-residentadvisor.net.mp3

Published / 20 April 2009
Filesize / 97.01 MB
Length / 01:20:48

DJ historian Bill Brewster digs deep for this week’s RA podcast.

Originally hailing from Grimsby in the North of England, Bill Brewster’s first passions were football and music. Already amassing a substantial record collection whilst he was writing for football magazine When Saturday Comes, he was then approached to write for Mixmag, eventually becoming the one of the editors at their New York branch. It was there that he met writing partner Frank Broughton, with whom he compiled the hugely successful How To DJ (Properly) and Last Night A DJ Saved My Life books.

The duo’s most recent venture into the literary world is a collection of articles and reviews by Rolling Stone scribe Vince Aletti, who was among the first journalists to write about disco. Brewster also runs the popular DJ History site, which apart from serving up interviews and features from some of the legends of dance music, acts as a hub for eclectic selectors worldwide through its forum. Where else would you get to read a dissertation from disco intellectual Daniel Wang, or have Ian Dewhirst school you on the history of the most expensive record of all time?

The popularity of the forum, especially in London’s disco-loving community, has contributed to the success of Brewster’s Low Life parties. But it’s the music that keeps the crowds—and guest DJs—coming back. (He’s even managed to coax the much-bootlegged French disco wizards Arpadys into playing their first ever live show at Cargo on April 30th, which coincides with the release of a compilation of their archived material on the Tubetracks label.) As with every Low Life event, Brewster will be taking to the turntables to showcase how a real veteran DJ plays (properly), but you don’t have to wait until then for a history lesson from the man. This week’s RA podcast sees Brewster jumping back and forth through the decades with a wide variety of disco and house treats, with a few curveballs along the way.

What have you been working on recently?

For the past year Frank Broughton and I have been working full-time on DJhistory.com our website, trying to develop it into different avenues. At the moment we’re just about to publish our first book (by another author): The Disco Files by Vince Aletti. It’s coming out in two weeks’ time. We’ve got another two books planned for this year and we’re currently working on about five book ideas. We’ve also got the Le Disco: Tele Music Remixed album coming out shortly and to celebrate that we’re bringing over Arpadys, the legendary cosmic disco band behind the original music, to perform live in London. It’s the first time they’ve ever played live as Arpadys!

How and where was the mix recorded?

It was recorded in a variety of ways. I used both original vinyl and digital files, I mixed some of it live on 1200s and an Allen & Heath XONE62 and then I did a bunch of editing on Garageband, I rarely do any mixes totally live now, I don’t see the point. Live mixes are for playing live and mixes on the net are a chance to add a bit of spice to the mix and do a spot of judicious editing where need be.

Can you tell us a little about the mix?

It’s sort of a representation of what I would play live, so the tempo changes quite a lot, but often gradually so it’s not noticed particularly. I’ve thrown a few classics from our Low Life parties in there and some proper old school classics like Curtis Mayfield, just because I can’t bear to just do a mix of obscurities, I find a bit dull, frankly. And it represents all modern dance music eras, from 1971 up to today.

Your Low Life parties have become a resounding success, selling out Corsica Studios with little or no promotion, and attracting a large female contingent. Care to reveal your secrets?

Ha ha. Yes we do have a strong female contingent. I’m not sure there’s a secret per se, but we’ve been doing them 15 years so we’re pretty confident as to what makes a great party: great people and great music. We’ve got both bases covered now. We’ve got brilliant resident DJs, we’ve got a great crowd, a mixture of loyalists who’ve been coming for years and a lot of new blood who have started coming in the past few years. And we try and do them in interesting locations. The last one was in a squat in Hackney. The next is in a warehouse in Limehouse. And we never do too many, so demand always outstrips supply.

What are your thoughts on the currently thriving edit scene?

I suppose it’s gone a bit ridiculous, really, but 95% of any scene’s records are crap. The job of a DJ is to sift through the avalanche and pick out the ones worth having and it’s the same with the current edit mania. Lots of rubbish, but some real gems in there too.

How did the Vince Aletti book come about? Did you visit Matthew Higgs’ “Male” exhibition?

We didn’t visit the exhibition but Matthew got in touch with me when he was doing it to ask if I was interested in receiving a copy of the Record World columns they’d reproduced as part of the exhibition. Frank and I thought it would make a great idea for a book (we were just in the process of setting up our little book publishing venture at the time) so we got in touch with Vince who we knew from interviewing for the Last Night A DJ Saved My Life we did in 1999 and Vince said yes, fortunately. We’re really proud of the results. I think it’s a great document of the 1970s disco scene, possibly the definitive document.

What are you up to next?

The next book we’re planning is Raving, which is a collection of raw but vivid pictures from 1989 raves around Slough in Berkshire done by Gavin Watson (who did the Skins book previously) and his brother Neville. That’s out in July. Then after that we’re hopefully just about to do a deal with Boys Own to do a Best of Boys Own book which would come out in September. We’re also presently licensing two albums: Secret Weapons and An Overdose of the Holy Ghost: Gospel Disco. Bloody Nora, we’re busy aren’t we?

http://ra1.residentadvisor.net/audio/RA134_20081222_Danny-Howells-residentadvisor.net.mp3

http://ra1.residentadvisor.net/audio/RA134_20081222_Danny-Howells-residentadvisor.net.mp3

Published / 22 December 2008
Filesize / 77.38 MB
Length / 01:04:28

Danny Howells turns the party out in an eclectic mix for the RA podcast.

Take one listen and you’ll realize immediately why it’s so fitting that Danny Howells first “Totally Funked” party was held in celebration of Prince’s birthday. While the DJ/producer may often be lumped in with the progressive house scene, his love of pop music is undeniable.

But back to those progressive house beginnings for a moment: Things first started for Howells in 1992 after a friend gave one of his mix tapes to John Digweed, who then approached him to become a weekly resident at Bedrock in his home town of Hastings. It was this residency that led Global Underground to tap him as part of the Nubreed and award him a mix slot in 2000 that pushed his career into overdrive, as he racked up residencies in Nottingham, New York and London on top of his punishing DJ schedule around the world.

A number of other compilations for GU, Azuli and Renaissance followed, as well as studio collaborations with Dick Trevor as Science Department. But he’s hardly lost his touch: His most recent mix for Renaissance has deeply melodic inclusions from Sven Weisemann and Lawrence nestling alongside techier cuts from Joris Voorn and Santiago Salazar. For his RA podcast, though, as we alluded to above, he chose to go a little bit poppier. We caught up with Danny by e-mail to chat about the mix, his Dig Deeper label and trying to stay sober on New Year’s Eve.

(from Resident Advisor)

http://ra1.residentadvisor.net/audio/RA109_080630_The-Mole-residentadvisor.net.mp3

Published : 30 June 2008
Filesize : 76.68 MB
Length : 01:03:53
Status : Available

The Mole brings a mix for make-ups. And break-ups.

You gotta feel for Colin de la Plante. His Modern Deep Left Quartet pals went off and formed Cobblestone Jazz and now tour the world without him. His girlfriend broke up with him. And just this past week he broke his collarbone*, which explains why we didn’t immediately have a tracklist ready for you. Can you blame him for making a mix entitled Soft Hits for Making Up and Breaking Up?

That said, there is that niggling “make-ups” part. Things aren’t all bad for The Mole. He’s just released one of the year’s finest full-lengths, As High As the Sky, which is a journey deep into the heart of organic loop-based house music with a soulful tinge. He’s back recording with the Cobblestone guys, in preparation for a long overdue second Modern Deep Left Quartet release. And now he’s got an excellent leftfield RA podcast to his name. Full of old soul, funk, disco, and R&B classics that’ll have you typing lyrics into Google, hoping to pull track IDs out of the digital ether. (Believe us, we tried too.) It’s one of the best we’ve heard this year – and we hope you enjoy it too.

*We at RA towers wish The Mole all the best in making a quick and full recovery.

What have you been working on recently?

Working on 7 Inches of Love, my 7-inch label with Koosh. Waiting on some records for Prins Thomas’ Internasjonal label. Doing minor explorations into the German health care system and finishing my track for the Soundwave Festival compilation. Oh. And my neck tan.

Where and how was this mix recorded?

At my house in Berlin. I just grabbed a bunch of records I’ve been loving at home right now, made a little story with them.

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

Well, I was into one of my ballad moods. I get into these…you know, listening to ballads all the time. “Soft Hits for Making Up and Breaking Up.” What can I say? It’s all about spring. Couples fighting in the streets and sexing it up with strangers at night. Just another love story.

Some of the songs on your new album are more than six years old. Why’d it take so long for them to see the light of day?

Great question. I guess some of these things just take longer to find their way out of the vault. At least they made it out. Some are stuck in there and some should just never come out.

When can we expect more from Modern Deep Left Quartet?

Another great question! The guys are coming for the Wagon Repair party at Panorama Bar this week and staying for a couple of weeks. I’m sure we’ll jam and really hope we get some good recordings. It’s always a bit of a lottery with us, but always fun regardless. It sure would be nice to see some more MDLQ in 2008. I’m keeping my fingers crossed and my game hat on.

If you had to estimate, how many records did you sample for As High as the Sky?

Oh God. I have no idea. Lots.

What’s up next for you?

Healing. Some touring. Enjoying summer. Trying to keep my beard trim, so mom doesn’t get too upset.

Tracklist
01. Terry Callier – Dancing Girl
02. Os Mutantes – Baby
03. Teddy Pendergrass – When Somebody Loves You Back
04. Gap Band – Outstanding
05. Ethel Beatty – I Know You Care
06. The Blackbyrds – Think Twice
07. J Dilla Jay Dee – Don’t Cry
08. Sylvester – I’ve Been Down
09. Donny Hathway – Giving Up
10. The Temptations – I’m A Bachelor
11. Donny Hathway – I Love You More Than You’ll Ever Know
12. Marvin Gaye – When Did You Stop Loving Me, When Did I Stop Loving You (Reprise)
12. Genty – Baby Goodnight
13. Noviciat De Soeurs Missionaires De Notre-Dame D’afrique & Four Religious Drummers – Yesu Ka Mkwebaze