Guillaume’s initial musical forays were as a percussionist in a funk band, after which he studied latin and classical percussions in college before discovering electro-acousticcomposition, which he pursued  further atuniversity. It was during this period that he joined [iks], a contemporary jazz formation with whom he recorded two albums and toured for several months in Senegal. Upon his return to Montreal, Guillaume decided to focus his efforts on composition.

Influenced as much by concrete music as by techno, which he discovered one night in the midst of a lightning storm, Guillaume founded Egg (MUTEK_rec, Karat, Floppy Funk), Luci (MUTEK_rec, Morris Audio), Chic Miniature (Raummusik, Musique Risquée), Flabbergast (MUTEK_rec), as well as the artistic collective Racam. He has toured with one or another of these projects in north/south America, Europe and Asia.
Since January 2007, Guillaume has reached European soil. Like many other, he chose Berlin as his new home base. Traveling all around the block, he’s always looking to get the dance floors grinning with guilty pleasure. C’MON NOW SHAKE THAT ASS!

The Jena joker turns in an eclectic mix of hip-hop, pop, chill wave and more.

Delicacy is not necessarily an adjective you’d attach to Robag Wruhme if you saw him behind the decks. Either solo or in tandem with Sören Bodner as the now defunct Wighnomy Brothers, Wruhme has gained a reputation for his boisterous, hard-drinking DJ sets. But scratch the surface of his recorded music, and in particular his recently released Thora Vukk LP for Pampa, and a whole microcosm of elegance and grace is there to enjoy. Wruhme was the production brains behind the Wighnomy Brothers, who from their hometown base of Jena in the east of Germany put out a string of leftfield house and techno releases through Freude Am Tanzen until their split at the end of 2009. During that time they also proffered a seminal mix CD in the form of Metawuffmischfelge, a feat Schablitzki followed up on earlier this year with his excellent Wuppdeckmischmampflow for Kompakt.

Much like his latest full-length, Wruhme has only minor dance floor considerations on his mind for this mix—hip-hop, pop, chillwave, spoken-word and (of course) bags of oddities are much more the order of the day.

What have you been up to recently?

Interviews and podcasts.

How and where was the mix recorded?

In Jena in my bedroom and in my kitchen, with a turntable, apples and a lot of vinyl and CDs.

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

“Good Morning” was and is the idea … I hope I can share that.

What are you up to next?

I have to work in my own car wash centre and then I will bring out the vegetables in my garden… it’s April!

Biography

Marko fürstenberg was born in 1976 in thuringia, germany. influenced by the 80s music such as depeche mode, a-ha and new order he was attracted to electronic music from its beginning. very early marko made his first steps in recording his own tapes as “dolby”.

In the beginning of 1995 he started dj-ing at several parties in thuringia and already then showing a techno-orientation originated from labels like x-trax, force inc., klang and later basic channel. a few years later he started creating his first own electronic sounds with a pc and thus he invested constantly in technical equipment. in 2000 his first project “vertikal 23” was established, in cooperation with local musicians. the outcome was a mixture between downbeat & trip hop but later on marko developed his own deep sound.

Providing his music on the internet, marko got in touch with the “thinner” netlabel, which published his first release under “dolby” alias in 2002. further releases followed also on other netlabels such as realaudio, stadtgruen and instabil, as well as remixes for digitalverein, rktic, lod and sarah goldfarb. the success story began: between 2003 and 2005 marko performed at some international festivals and clubs, e.g. in canada, greece, sweden, poland, suisse, austria, etc. after publishing quite a number of netreleases, his first vinyl track on “thinner allstars pt.1” (2003) was published under the pseudonym “surphase”. very soon after that marko decided to use his real name marko fürstenberg for his future work.

After moving to leipzig in 2006, marko approached a peak level in productivity, releasing a number of songs in rapid succession with labels like a.r.t.less, tfe and rotary-cocktail. marko’s success within the constantly changing techno scene didn’t come as a surprise: together with diverse dj partners as well as solo artist marko fürstenberg is now performing regularly in clubs & parties all over europe. his live sets combine classic dub-techno elements with current techno trends, which is much valued by his audience. with this kind of electronic music marko is considerably involved in the development of dub- and deep-techno.

Video

Marko Fürstenberg – Porn Infection (Das Kraftfuttermischwerk Softporn Edit) from Saint Sebastion on Vimeo.

[CD1] 13 F**king New Tracks

[CD2] 12 F**king Classics

cheers,

G-Stone Recordings Team

Pre-order the CD via Ninjashop and the first 20 orders receive an exclusive signed copy:
Ninjashop (USA) / Ninjashop (RoW)

Braddell could be said to be something of a trip hop pioneer, operating out of the Uterous Goldmine Studio, his ‘Hed Phone Sex’ album in 1995 brought dark surrealism to sampler music, and pre-dated DJ Shadow’s first album ‘Endtroducing’. All of this helped bring in a golden era of sampler based music, although on ‘On’, more live instrumentation is used than any other of the Funki Porcini albums previously. The greatest provocateur and humorist of the early Ninja period, Funki re-animates with his sound intact yet sounding utterly contemporary. Funki Porcini has promised to not let it go so long before his next release . . .

A young Simon Green (for it is he who is the monkey king) refused to be dragged down by the lazy journalistic prose that labeled him ‘chillout’ and ‘downtempo’. Far from it. He upped the stakes, and indeed, even stuck his neck out, moving from his original label Tru Thoughts to Ninja Tune, and set about taking things to the next level.

Cos it’s all about the levels with Bonobo. Not in a techy, studio kinda way, but in the levels of involvement with his music. On the surface there are the organic, pastoral atmospheres, the catchy melodies, the elements that caught people from his first album. You can engage with a Bonobo tune in that way if you wish, and will be well rewarded for it. But it’s the deeper, slightly hidden levels that you should investigate, for they bring the greatest prize. It’s these elements that he explored on ‘Dial M For Monkey’, as a greater focus on live instruments, the intricacies of rhythm, the darker shades of the soul, and almost a sleight of hand, that meant that you could be in one mood one minute, and the next you would somewhere different.

‘Dial M For Monkey’ showed the set of brass balls that Bonobo (like his namesake) had, and these would be tested again as he set about building his live band. He duly found the right musicians, self financing rehearsals, and fine tuning a live show that brought out the elements of his music that had hitherto gone largely unnoticed, as the band swung and rocked their way through shows at Glastonbury, The Big Chill, Jazz Cafe, and internationally exotic settings from Italy to Russia.

He set about building his DJ style in the same way, refusing to conform to the preconceived ideas of a laid back style, and aiming headlong for the dancefloor, with a heavy mixture of hip hop, weighty jazz, broken beats, Latin, funk, and soul, with the occasional cheeky bit of psyche rock and drum and bass thrown in. Just to keep you on yer toes right? Now a DJ of international repute, Bonobo has played all over the world, including playing to huge audiences in the USA and Canada with Amon Tobin, a progress culminating in Ninja Tune asking him to put together a Solid Steel mix album. Bugger the lounge, lets dance.

Now, with the expectations duly dispatched with the good hiding they deserve, the field is wide open for Bonobo to push himself even further, and we await the next album, due late 2005 / early 2006, with our minds well and truly opened to the possibilities.

“Lots of live shit”, says Bonobo.”Strings, horns, drums and vocals. More energy and a bigger, heavier sound”.

Come on then son.

Having worked together on the recent release ‘Ambient Film Themes Vol.2’ – which features avant garde film and documentary scores that blend electronics, orchestras and field recordings – the two artists have once again teamed up to put together an exclusive mix for Clash.

We caught up with them to find out more about the mix and their intriguing new album.

Clash: Tell us a little about the mix and some of your favourite tracks from it:

Casio: It’s some of my favourite tracks from the golden era of downbeat electronica plus some references to the 80s and 70s. Nowadays a lot of music is produced for specific occasions and therefore has only a short lifespan. The tracks in the mix are somehow timeless in my opinion.

Clash: How do you decide on what goes into a mix? Does it depend on your mood at the time?

LOPAZZ: That’s always different – playing peak-time, warm-up, podcasts – every time it’s different and new. Of course there are some tracks we play for years, our all-time-favourites! But it’s good to follow your mood and the crowd and somehow the customers/listeners’ choice. I mean, it doesn’t make sense to play techno on an ambient floor, right?

Casio: It depends very much on the mood. I was loosely listening to my records with the plan to do a downbeat mix with musically appealing tracks. I collected some more records that I needed for it and then in putting it together kicked out what didn’t really fit, mix-wise.

Clash: Some favourite tracks to play live?

LOPAZZ: I’ve got some all-time-favourites like Metro Area, The Other People Place, Ron Trent, Man Parrish and so on – but I also have a look on new releases and artists.

Casio: I used to do a lot of DJ sets in bars and so on, but recently I’m mostly playing house and techno.

Clash: How about the best live shows you’ve ever played?

Casio: They were all so great. Sometimes I’m having a hard time topping myself.

LOPAZZ: Ha ha, right – I think our show on Pelorinhou Plaza in Salvador was the most inspiring one! We were one of the few electronic artists ever allowed to play there!

Clash: What makes a good remix for you?

Casio: A good remix has the characteristics of the original as well as the footprint of the remixing artist sounding good together.

LOPAZZ: I like remixes that sound completely different though some of the original sounds or patterns have been used!

Clash: Tell us about your new album, ‘Lopazz & Casio Casino – Ambient Film Themes Vol.2’:

Casio: We made a lot more changes in the tracks compared to the original soundtracks than on the first volume. Because some of them were only working with the pictures, some were too short, and some needed a more acoustic, analogue feel to them.

LOPAZZ: Right, but we followed the same rules – mixing the tracks with original sounds captured at the shootings, like city sounds, animals, singing monks…. We wanted to get a fluent mix, a travel-music-album.

Clash: You took sound recordings from various parts of the globe as part of the project – how were these used in the final product? And how did you decide what sounds to record?

LOPAZZ: It’s supernatural to me! Sometimes I travel with the film crew to locations such as Mongolia, Macao, Ethiopia, South Africa and my ‘Kook Kook’ tour led me to places like Brazil, Ecuador, Lebanon and I always record sounds and moments. I started doing field-recordings as a little boy and now it’s part of my profession. LOPAZZ records always have this analogue feel (I don’t like this expression) – I use real acoustic instruments or my voice to create sounds I need for dancefloor tracks or scores.

Clash: Yours will be our first DJ mix of 2010! So – a few generic New Year’s questions: Tell us about the best New Year’s Eve you’ve had:

LOPAZZ: With Casio on a fancy LSD-Party (in the early 90s) – now we don’t do that anymore – we changed to ecstasy pills, hahaha….

Clash: Any New Year’s resolutions?

LOPAZZ: No meat, no alcohol, no drugs – at least for the first two days in 2010.

Casio: A little less of everything that’s bad for my health.

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

How did you two start working together?

Kassem Mosse: We worked together on the last Workshop release, we edited and did the final mix together.

Mix Mup: We also did a radio show some time ago, and realized we worked together really good. The radio show ended, and then we got this idea for Chilling the Do, a collage thing.

K: Yeah, that’s what the radio show was like, lots of samples and collage stuff. Just on a local station here in Leipzeig, called Radio Blau. But we had a lot of people listening in. Sometimes people still tell me they used to listen to the show, which is very strange, because we never had much feedback.

How would you explain the concept behind the mix?

M: In the 90’s there were many chill out zones in clubs. There was the main floor, and then the chill out floor. Nowadays, you have the second floor, but it’s also a dance floor. So we miss this chill out location.

Isn’t this collage a little more experimental than usual chill out room stuff?

K: Well, it’s very much our chill-out room. It’s maybe not the typical concept you think of when you think of a chill out room, not just nice melodies and stuff. Our idea of it is a place where you go and you try to actually listen to something. Maybe you’re talking to your friends and then you get surprised by something, so you keep listening, without dancing. This one is supposed to be a bit more eerie. It goes back to our radio show — we would have a topic, and collect radio snippets and sounds that fit the topic and then go from there.

K: Usually, Chilling the Do is a live thing. We do it for four hours or more. On the radio show, we would just play with samples, there was not much talking. It was like communicating through samples, through snippets from a TV series, interviews from the Internet, old movies. Now we do this live, and it’s very long — like, the whole night. In this case, we chose a theme that is inspired by old horror movies… we show our dark side in this mix. This was kind of a special thing — it’s not live, it’s a mix. Usually we play instruments.

K: Yeah, there’s some stuff on there that’s unreleased material, but usually we’d have instruments. We didn’t do that for this [podcast] because we didn’t have enough time, it wouldn’t fit; we didn’t want to be rushing through things.

What kind of setting would you perform in?

M: We want to do this in nightclubs, in a typical chill out zone, where people come back from the dance floor and listen to something that’s not a straight 4/4 beat. But it’s very difficult nowadays — I think people have lost their patience for this sort of thing. So, we’d like to do it in nightclubs and we know its possible, but, well, it’s not always possible. Sometimes we do it in other locations, like bars, or we could do it in something more like an art space, but that’s another kind of crowd.

K: Yeah, that’s another idea. You know, there used to be a time where you wouldn’t have just DJs playing on all floors. Nowadays you go to a club and you have two floors or three floors, and you just have DJs playing dance music on all floors. There was a time when it wasn’t like that, where you could go to some space and just hang out and talk to your friends, and you really don’t have that anymore. Maybe you have a back room or something, but it’s just not really a special place. But sometimes you do have it and people don’t like it — we’ve had a very negative reaction to this. They go to a place where usually there’s two floors of techno, but tonight we’re playing, and they say, “What is this? Play some techno! What’s the point of this? We don’t get it.” Its not enough for them to go to one floor to listen to techno, they need always two floors. I mean, nothing against techno or anything, but I mean, this behavior — I don’t get it. People are not so open-minded as perhaps they were some time ago.

Do you think maybe, as techno attracts more of a mainstream crowd, they’re less likely to understand something so experimental?

K: Yeah, sure.

M: I think so. I don’t like to talk like this, but I’ll do it now again [laughs]. When I first experienced techno in the 90’s, when I was like 14 years old, and for the first time went to a club in my hometown in East Germany, everything was very new, and you went there because you wanted to hear something you never heard before. It was all very experimental, everyone there was very open-minded.

K: I think it has to do with expectations. Actually, I was reading that [LWE] post on Innervisions, and Dixon was saying that he doesn’t give away mixes because he doesn’t want people to have expectations when they come to a club. And maybe that’s the thing — back in the days when this was new, people didn’t know what to expect, and nowadays they just want to hear this or that type of thing. But in the 90’s it was not like that, people were more curious. I sound like a grumpy old man, but still. [laughs] Sometimes I’m missing a little tension in clubs, I want the DJ to play something different, that doesn’t fit too well.

M: We need surprises. We are looking for surprises, and we can’t find it, so we do it ourselves — we surprise each other.

K: That’s true — because when we play as Chilling the Do, we don’t know what the other one is going to bring, we don’t listen to the stuff before hand, so it’s like a constant ping pong kind of affair. It’s a way of keeping things interesting for us too.

What’s an example of a time and place where Chilling the Do performed and it really kicked ass?

K: How could it kick ass? [laughs] The best example would be when we played at this local place, which was exactly one of those nights where on the one hand you have people approaching you saying, “This is a techno floor, why are you not playing techno?” but you also have this perfect situation, because the way people were sitting was like a subway train somehow, they sat sideways in rows. So we played a lot of train sounds, to make it feel like everyone was on a train, traveling around. Very surreal.

M: It was a recording of the subway in Jena… we recorded it for an hour or so from the main station.

I would have expected you play in art spaces rather than clubs.

K: Yeah, right, but that’s not enough for us, we’re not content to play in art spaces.

Chilling the Do has a focus on hardware and improvisation that’s fairly unusual for live acts today. Would you say there’s a statement involved in that?

M: Well, we’re just doing what feels natural for us. But at the same time, it comes to a statement, because we’re not just doing it at home for ourselves.

K: And you know, we want to see a certain change perhaps, we want to see more open structures. You have people trying that, doing these laptop orchestras and stuff like this… but you need more of a possibility that something can go wrong. There must be room for mistakes — if something goes wrong, that’s OK, it happens, it’s alright. Everybody’s playing it safe, and that’s something I don’t like so much. Especially with new technology, everything’s just very safe. You can get your timing fixed and then mold everything together, you can have ten mp3s all going at the same speed, but what’s the point? It’s more interesting if you have these things where you can see that someone has to know how to work these things. Perhaps things go out of sync for a moment, but then you bring it back together — it gives it kind of a human edge. Perhaps that’s something I’m missing — the chance to fail.

Are there any live acts right now you really admire?

K: Well there’s Rancho Relaxo, that stuff is kind of like what we do.

M: There’s also The Midnight Episode… one of our friends… on Myspace.

K: Yeah, they’re really cool people, really like-minded kind of project. It’s very good music.

http://www.channels-rec.com/3.mp3

Petcast #2

http://www.channels-rec.com/Catz_n_Dogz_-_PETS_02.mp3

Petcast #3

1. Peter Dundov – Anias theme
2. Lady Pank – Nastroj po upadku Jacka i Placka
3. Mr.Oizo – Last Night (Demon’s lndjkmd remix)
4. Kultmasta kurt – Let me talk to You
5. Mark e and Dragon – - good times (quiet village remix)
6. Rahzel – Suga sista
7. Nick Holder – Love is Blind
8. Soulphiction – White ropes
9. Pluxus – Tarta och raketer
10. King Midas Sound – One thing (dabrye remix)
11. Born Ruffians – Little garcon
12. Dj cam – No competition
13. Karu – Definition of a star
14. Sasha Dive – As long as its the groove
15. Dj mehdi – Bambaata
16. The veils – Vicious traditions

Petcast #2

1. Recorded Sounds – East Poland
2. Scott Matthews – Elusive
3. Yasushi Yohida – Permanent yesturday
4. William De Vaughn – Be thankful for what You’ve got
5. Slum Village – Fall N Love
6. Maus and Solle – Adore
7. Groove Armanda – Paris
8. Blackpocket – Ure A Star (Martyn Remix)
9. Homewreckers – It’s About Time
10. Hercules Love Affair – You Belong
11. Trusme – War
12. Flying lotus – golden diva
13. Outlines – I’m in love
14. I’m not a gun – Bright view windy blue
15. Gustav – Rettet die Wale

(From Petcast)