He’s performed as both a DJ and live act in some of the worlds best venues, from London’s fabric to the legendary techno mecca that is Berlin’s Berghain. His own label, Baum Records, has just been relaunched with a release from the Finish dub techno artist, Leftover which features a remix from Resoe himself, so to help celebrate the long awaited relaunch, we invited Resoe to provide the next instalment of our podcast series.

Resoe serves up a blissful selection of dub techno that’s not just perfect for inside the club but also makes for great home listening too.

This episode features ASC, Sam KDC, Seth, Daojia, Oswey, Stumbleine, Shura, Overcast Sound, Tazz, Basic Audio, Samaan, Genoc1de, Isotroph, Telematik Guru and Lux

This episode features Darkhouse Family, B Bravo, Paul Lorraine, Thefft, Rick Sanders, DJ Fiore, Franky B AKA Cryptic Monkey, YosoYYo, LOTEK and iO, Wachs Lyrical, GDX and Nickel B.

You’re primarily known as one of the foremost exponents of dub techno, though you’ve also released highly acclaimed ambient albums and further back than that I understand you were involved in more industrial sounds. Can you give us an idea of how you got involved in music in the first place and some of the artists who influenced you?

Rod Modell: Ever since I was a child, I was always unhappy with mainstream sounds. As long as I can remember, I hated everything on the radio. In fact, sometimes I wonder if I’m a music lover or a music hater. I’m still really not sure, because I can’t stand music that is too musical [or] structured. I think I like listening to sounds better than songs. One well-designed sound can be more emotive than 100 songs. When we hear musical structure, the brain understands it is music and processes it as such, but a good sound bypasses this analytical module of the brain and plugs directly into the psyche. We hear it, but don’t have to listen. So I like to design sounds rather than music. I don’t really view what I do as songs. So because of that, I’m not really too influenced by musicians much. I think I’m more influenced by nature, air, water, and the night sky more than any music. I can go out into the woods at 3:00 AM, and be inspired to record new sounds. I haven’t heard music that inspired me like that in years.

I view what I make as a textural smear of sonic events that all bleed together and cause aliasing where they overlap. The actual “art form” for me is creating interesting forms of aliasing by choosing the correct textures to overlap. I was probably more influenced by the Environments series (a collection of field recordings issued by Syntonic Research, Inc. between 1970 and 1979) more than any artist. When I was a child, I would sleep to an AM radio tuned between stations. There was so much to hear in the static. Solar activity, earth noises, storms, cosmic occurrences. The static has a grain, like different wood surfaces have unique grain. This AM static was far more influential than any musical artist.

I understand you have been a big fan of field recordings. What sort of environments are your favorite to record and how do you typically apply them to a piece of music (i.e. are they left unadulterated or do you play around with them a lot)?

Big time. Actually, I haven’t really played much music in my house over the past few years. My recent in-home playlist is practically all field recordings. Music is too one-dimensional. I like field recordings made in places that I like to be. I don’t really like “middle-of-the-day beach recordings.” I like something dark, but not evil. A “soothing dark” rather than one that makes you depressed or on edge. Like hearing a night rainstorm recorded at 2:00 AM outside the apartment window in Amsterdam. Or sitting in a courtyard in Barcelona at midnight recording wind in the trees and distant voices. These recordings are erotic. The degree of processing applied depends on the situation. Sometimes they’re drenched with processing, and sometimes raw. Lately I’ve been favoring unprocessed. More pure.

You’ve recorded some amazing material with Michael Mantra. How did you first meet, and how long was it before you were making music together?

I was/am big fan of Mike’s musique concrète. He creates alien sonic landscapes with field recordings that he captured. In the mid 1990s, I was really inspired by old musique concrète, and thought Mike was producing a modern variant. I was talking to Kim Cascone on the phone around this time, and expressed my enthusiasm for Mike’s work, not realizing that Kim and Mike occasionally run into each other. On one of these run-ins, Kim informed Mike about how much I like his work, and gave Mike my phone number and address, so Mike started writing and calling, and we forged a nice friendship. Maybe after a year or so of talking, we decided to try recording something, and it worked out great (Sonic Continuum on Hypnos).

What can you tell us about your Plays Michael Mantra album?

That was a funny one. Mike released a CD called A/B on Silentes, and I was contacted about remixing this one for an A/B Remixed release. I’m not sure if Mike contacted me or Stefano [Gentile] at Silentes. I started working on this remake ofA/B, and a month later, I had music that was so drastically different from the original that it couldn’t really be viewed as a remix [or] remake. It was a totally new life form. Stefano at the label suggested we call it something other than A/B Remix since there was almost zero semblance of the original, but since Mike’s A/B influenced what I made, it seemed appropriate to credit Mike also. So Stefano suggested thePlays Michael Mantra title, and I liked it. There were other influences on that one too — trains and weather come to mind.

When did you start becoming interested in more dance floor-oriented rhythms?

I think it was when I noticed a problem with dance music that I was hearing in the mid 90s. I remember Mike Schommer and I were in a club in Detroit, and we noticed that every song started out really nice. Just a simple rhythm and bass line with some noises floating in and out. Perfect! Then some other element would fade in, then another, then another, then… the music was totally ruined at this point. We couldn’t figure out why these artists didn’t just leave well enough alone. They had a nice thing going and totally convoluted it every time. They destroyed it with too much complexity. Mike and I were interested in “trying to make a whole record sound like that beginning 45 seconds” of these other records. We wanted simple tracks that weren’t convoluted. I think this was the core premise for our experiments. Also, around this time, there were a couple records from a band called Psychick Warriors Ov Gaia (PWOG) that I thought were fascinating. I was in a record store, and picked up one of their CD’s and noticed a warning on the back saying, “This CD doesn’t contain finished songs, but rather structures for DJs,” or something similar to this effect. This was profound for me. Making sound without actually making songs? I thought this was great. So I thought, “Yes, maybe it is possible to do what I want.” Also, around this time (early 1990s), I was fascinated with the way Bandulu (from UK) were introducing dub influences into techno. I thought that when you combined dub with techno, you got something stronger than dub or techno on their own. They temper each other well.

What do you feel that making tracks in this nature offered you that your ambient material did not?

I always thought beats opened up my ambient music to a bigger, different audience. I really always considered my music to be ambient, even if it had dance beats. It was just ambient music with a pulse rather than free-form without a pulse. Not much difference to me. In fact, if you drop the kicks and hats from a DeepChord record, you still have a pretty good track. Sometimes better than with them. The beats are purely incidental. As a matter of fact, many times I made alternate versions of DC records without the beats for listening to at home. I remember a show that Steve and I did in Ghent, Belgium. It was at a club called Limonada, and was during the Resonance Festival in March 2009. We were doing a sound check before the show, and the music that we were playing was relatively “pounding,” dance-oriented material. Someone from the club came over and asked us, “Is this what you’re playing tonight? Because we asked your booking agent for a more atmospheric set.” I was totally overjoyed! I told them “no problem,” and turned down channels one through six on our mixing console (the channels containing all the rhythmic elements), and we did one of the most amazing sets ever. We used the channels containing atmospheric elements with effects and filters, and produced a soundscape of huge, weightless, billowing clouds of sound. It was religious. I mean seriously amazing without the distraction of the beats. Something happened during that set that I still can’t explain today. I think the sounds induced some sort of (positive) psychological reaction in the audience. No joke. Numerous people commented after the show, and via email later also.

How did you first meet Stephen Hitchell?

Steve was sending demos to me when I was running DC (the label) with Mike Schommer. I thought Steve’s demos were the best I got, and thought if we were to release someone other than our stuff, this would be the guy. Unfortunately, we never branched out and released music of other artists. There were plans to start a sub-label, but it never materialized. But Steve and I became friends, and talked often. At one point, the suggestion of trying to work on something together arose, and the outcome was The Coldest Season. Mike was extremely preoccupied at the time with refinishing an older home and starting a family. I tried to get him re-inspired to make music for about a year, but he had too much going on to consider it. It was around this time that Steve and I were discussing a collaboration, so the timing was perfect. One thing led to another.

Is there any difference in theory between your Echospace and cv313 monikers?

Actually, we’ve never released any information regarding the members behind cv313. It was always intended to be undisclosed. All accounts to that end are extraneous, but one night while walking around Barcelona (El Raval), Steve and I met two strung-out “characters,” and they gave us an extraordinary demo CD-R, and those guys might somehow be involved.

To some people a genre-like dub techno can end up sounding very “samey.” How do you keep things moving and interesting for both you and your listeners?

Good question. Not really sure. I think it’s intuitive rather than something clearly contrived. We try to do things a little different from album to album, but I found that any time you go into a studio with a preconceived notion of how you want things to sound, it never happens that way. I think you have to just get in there and start working, and what happens happens. Sometimes good, sometimes bad. But I think it’s important to take chances with the sound. Playing it safe, and merely repeating a tested formula over and over gets you nowhere. I’d rather take a chance and bomb rather [than] do the same thing over and over.

Many times, a reviewer will say a new release sucks because they had preconceived notions, and you were different enough to disturb what they anticipated. Half the negative reviews out there are the result of bad reviewers, not bad albums. I never read reviews anyway. I can’t be concerned why some guy doesn’t have the mental scope to comprehend someone’s art (or not). I’d rather hear a description of the work from the artist. The whole premise of music reviews is insulting anyway. It’s art, and in art, there are works that speak to you and ones that don’t. The ones that don’t are equally valid to someone else, maybe just not for the person reviewing it. I take reviews more seriously, where a reviewer describes what they’re hearing without bias, and doesn’t assign the artwork a point value.

When you’re in your studio do you ever explore music outside of the genres you’re known for?

Recently, yes. Hip-hop music a little. I think I have a unique take on hip-hop. I think a huge hip-hop artist should let me produce their next album. I’d give them something no one has ever heard before.

Are there any artists you’ve recently discovered who have really excited you?

I really haven’t been overly excited about any new releases for years. I wish I could say differently. I desperately want to be, but am having a difficult time. I guess the most interesting thing I’ve heard recently was the Mordant Music releases. I really think they are great, and have loved all of their output. Also, some Hyperdub releases. Even the Hyperdub releases that don’t move me immediately are still obviously brilliant and unique. Some of their releases are unlike anything I’ve ever heard, and that seems an impossible accomplishment in 2012.

There’s an obvious debt to the likes of Maurizio in your Echospace and Deepchord productions, but are there some less obvious influences in these records too?

I think influence seeps out in mysterious ways. No artist with integrity consciously copies another artist, but we all tend to regurgitate things that have influenced us over the years. It’s a natural process. I don’t think there is a single artist who hasn’t. It’s never ending. People always say, “It sounds like this,” or, “It sounds like that.” Most of the time, they are showing their ignorance when they do that. I remember when Nitzer Ebb released That Total Age in the 80s. I bought a copy and thought it was good, but I had a few friends that said it sucked because it was a blatant DAF ripoff. It never ends. People have to liken new music to something that already exists or else they can’t wrap their head around it. To me all rock and roll sounds the same. But to someone who’s really intelligent about rock, there are vast differences from release to release. I can’t comprehend the differences because I don’t understand rock. Likewise, people who say one electronic artist sounds like another electronic artist maybe doesn’t comprehend the subtleties in the music.

I really don’t see myself as a musician, so I’m not really influenced by music or musicians. When I’m sitting with a bunch of musicians, even electronic musicians in Berlin or whatever, I think, “What the fuck am I doing with these people? We have nothing in common, and really don’t have anything to discuss with these guys.” Probably my least favorite subject to talk about in the universe is synthesizers and studio gear. But if I’m sitting with a sculptor, painter or glass blower, I can talk for hours and feel like I’m in the correct company. I just use audio material to create my art rather than paint or clay. But it’s strange how I feel more a part of this group rather than a group of musicians. Maybe because I went to art school after high school. But I find that my soundscapes are much more interesting when an “arrangement” is influenced by a photograph or statue rather than other recorded media. These sort of non-musical influences are more inspirational to me than any recorded sounds.

What can you tell us about your most recent DeepChord album, Hash-Bar Loops? What relevance does the loops in the title have?

“Loops” refers to audio loops. For the most part, all electronic music is composed of loops that are created by the artist using drum machines, and sequencers (or audio loopers like Oberheim Digital Echoplex and Electrix Repeaters, in my case). I called the loops on this project “Hash-Bar Loops” mainly because I was staying in Amsterdam for several weeks, and recorded this album in that environment. I had a couple friends that enjoyed hash, and spent a lot of time with them. When I was trying to name the project, I kept thinking back to Amsterdam, my friends, the craziness going on etc, and “Hash-Bar Loops” just seemed appropriate. I liked the sound of it. These were the loops that were continuously repeating in my apartment during those several weeks in Amsterdam. I was making atmospheric backdrops to relax to rather than consciously recording an album. Then at some point, I collected all the fragments [and] loops, and thought they all flowed nicely, and decided to make them a unified whole. Maybe that album sounds differently because of this.

For me, it’s a sonic photo album. It’s the place that I feel the most comfortable of anywhere I’ve been. I feel like I’m home when in Amsterdam. Ten times more than Michigan. I had an apartment there in the center, on the Singel Canal. I would often put a small WAV recorder on the windowsill of my apartment, and record out the window, almost exclusively during the middle of the night. Voices, bikes passing, boats going down the canal. These “windowsill recordings” are in the background of Hash-Bar Loops almost start to finish. Sometimes quite low, but almost always there.

What can you tell us about the mix you’ve put together for us?

I think I pay more attention to the atmosphere in a mix rather than the beats. I just like a laid-back groove rather than danceability, I think. Maybe more “head music” rather than “feet music.” I just start picking out tracks that seem important to me at the time I start a mix, and it can vary greatly from day to day. This one, though, is spacious and relaxed, I think.

What can we expect from the many sides of Rod Modell over the next year?

Actually, lots going on, but too soon to really discuss some of it. Some new DeepChord material is nearly done, and Steve and I have been working on some new Echospace material also. Also, I’ve been preoccupied with video lately. I’ve filled up several hard drives with high-def video in the last couple years. I will be presenting a massive video installation piece, projected on ten video screens in Naut Humon’s (touring) CineChamber sometime in 2012 also.

Shades of Grey are a collective made up of Owen Howells, Duct, Fybe:one and Trinomic. Starting life as a Brixton based party that eventually grew into a label that concerned itself with exploring the ‘grey areas’ between dub, house, techno and beyond. Now 3 releases in – most recently with Artemis – they’re steadily forging a name for themselves in dance music circles across the board, whilst still pursuing their own burgeoning solo careers.

With their core element remaining as bass, each of the members of the SoG gang bring a different element of music, adding texture, depth and curveballs to this exquisite mix they have turned in for Data Transmission, ducking, diving, twisting and turning through a range of exclusive tracks and tried and tested floor fillers. We’re pleased as punch to have this shadowy and creative collective on board as they explore the different shades of multi-stranded electronica currently keeping the capital locked down. Take it away boys…

Sum up this podcast in 10 words… 
Hench, Shadey, Ethereal And A Bit Of Everything Else Too…

What´s your personal favourite track on it? 
Owen: Nina Kraviz – Pain in the ass(alexxkid remix)

Clean-cut and minimal intricacies, infinite synth stabs and mellow vocal work with a suitable helping of bass when required. This EP showcases a slightly alternative side to DFRNT’s work, and is bound to please fans of the recent output of Autonomic affiliates such as Synkro, Indigo, ASC or similar.

The second EP to surface in 2012, the tenth release from Cut is as much a curve-ball for the label sound as one might expect. Despite the clear shift in tempo, we reckon the emotion, melodies and musical sensibility within these 3 originals and 2 remixes is more than enough to tie it to the Cut family.

Here is the second podcast in the new artist series. It´s no other than my partner in “Pattern Repeat” Kenneth Christiansen with a solid mix!

Resoe

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!

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.

Download format : FLAC

(Thanks RV for finding)

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

Interview

How did you get into making electronic dance music? Where do you get your influences?

I listened to a lot of different types of music growing up, but slowly got in to electronic music at the time of Moby’s “Porcelain” and then through artists like Aphex Twin, The Album Leaf, Kid606 and even Prolix to MJ Cole. That stuff sparked my interest in actually making electronic music (and still does today) because of the ability to just be locked in and stay listening… despite sounding so raw and unconventional to me at the time. I loved the idea of making music alone and having the ability to experiment with so many new things. In terms of inspiration for writing and composing I get it all around me, though more so from the styles coming out of the UK and largely through artists like Whistla, Submerse & DJ Para. The people I work with and speak to influence me hugely as well, their music and the relationships. Dark or light, they are everywhere.

How would you describe your style?

It’s hard to do as my music is a blend of all my influences and ideas at the time of writing each track. Though I like the term future garage and use that, as I see it as a way forward for my ideas and a movement which is bringing together some hugely influential sounds. I love new and old garage, and growing up in Canberra I didn’t get huge exposure to that early on. I feel there is an endless amount of new thought and style that can be brought in to it from other areas while at the same time bringing a vibe of UKG and even dubstep.

Buck UK & Mirror State – Enola by Mirror State

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 :)

In crafting this mix for the Crackcast series, Hyetal embarks on a multi-track, multi-tempo, wind through the music that’s making him tick at the moment. From the experimental dubby sonics of Peverelist to the twisted two-step of Pariah, the mix bumps and winds along with a variety of vocals, cuts, tempo-changes and array of sonics.

With a loose house flavour running through the middle of it, but with some incredibly brooding, atmospheric, synthesised touches giving the mix real depth, Hyetal’s contribution to the series represents the diversity characterising a modern producer’s record box. Cramming an unprecedented number of ideas into 40 minutes, this mix reinforces the incredibly positive direction in which Hyetal is headed.

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