Heartthrob is best known as a core member of Richie Hawtin’s globetrotting M-nus crew, but he’s a terrific artist in his own right, possessed of an uncommon ability to make minimal techno sound vital and vigorous. Fact: his track ‘Golum’, taken from 2005′s Time For Ensor EP, is one of the deadliest dancefloor rippers ever.

Very much a quality over quantity kind of guy, Heartthrob – real name Jesse Siminski – has been fairly quiet on the release front since dropping his elegant Dear Painter, Paint Me LP in 2008. But don’t let that fool you: while commercially available 12″s and remixes have been thin on the ground, our man has been creating a wealth of new music, as those of you who’ve caught him live recently will know.

Heartthrob brings said staggeringly well-honed live set to London’s Fabric this Saturday, 31 July, joining in a bill in Room 1 that also features Marco Carola and Rhadoo; the other certain highlight of the night will be Abe Duque and Blake Baxter’s jack-athon in Room 2. Full line-up below; more info and tickets here.

To herald Heartthrob’s Fabric appearance, we’ve got an exclusive new track by him for you to download. Entitled ‘Leavin”, it’s a potent distillation of what makes this producer tick: taut yet swinging percussion, fat synthetic bass, a healthy dose of industrial sturm und drang and no shortage of drama.

NYC duo Wolf + Lamb is best known for its long-running series of underground parties, but the pair’s label continues to churn out a steady stream of quality music that walks the line between techno, house, and disco, and the boys—born Gadi Mizrahi and Zev Eisenberg—recently unveiled their debut full-length, Love Someone. We’re guessing that they’re gearing up for their annual trek to Burning Man, where the guys can hopefully bring an oasis of good tunes to the awfulness that populates the playa, but in the meantime they’ve put together this exclusive mix for the XLR8R podcast series. As one might expect, the Wolf + Lamb dudes bounce from one genre to the next, juxtaposing the funky sounds of J. Dilla and Georgia Anne Muldrow with Move D’s deep house and a bevvy of selections from their own label, all without sacrificing the groove.

Since being introduced to electronic music back in the early 90’s, Audio Injection has been hooked. At the early age of 15 he started Djing and playing out at local underground events and raves around the Southern California area. You would find him spinning various styles from house, acid, & techno to hardcore techno. After years of Djing he then decided to learn to produce his own music, which landed him releases on techno labels such as Monoid, Stimulus, & local label Droid Recordings. Since being associated with local event production group Droid Behavior in 2003, you can find him as a resident at the infamous Interface warehouse events as well as a regular producer for Droid Recordings along with Drumcell (Co-Founder of Droid Behavior). With releases & remixes on labels such as Droid, 4 Track, Circle Music, Tora Tora Tora, Smallroom Music, Lazerslut, Enemy Records, Prosthetic Pressings, Timefog, Phobiq, Impact Mechanics, Railyard, CLR and many more to come, Audio Injection continues to shape his own sound as well as collaborate with Drumcell to release more mind bending techno, putting Los Angeles & Droid Recordings on the techno map.

Next up on the 2020 podcast is Burnski.  His last release for us was a superb three track ep of old school influenced house.  This DJ mix showcases the Basics resident’s skills on the turntables with a an excellent deep and groovy selection.

If you’ve ever been sent a promo by Gadi Mizrahi from Wolf + Lamb you’ve probably noticed the (G$) after the filename. At first we were kind of confused but then he explained that he puts that there after he masters a track on the system at The Marcy and then we started calling it the G$ pump. Of course Gadi soon just became G$ and when he discovered a newfound love for hip-hop it seemed even more appropriate. It’s pretty surprising that a native Brooklynite only got into hip-hop later in life but there are lots of things about G$ that are surprising, like this mix, which randomly appeared in our inboxes the day we got to Berlin. Obviously we’re all massive 30 Rock fans, but it seems G$ loves Tracey Morgan so much that he made this mix, an hour long journey through deep and heavy hip-hop, trip-hop and of course Tracey Morgan. When he told us we could podcast it we pooped in the pool and we hope you’re just as excited by this totally unique creation from one of dance music’s true visionaries and of course one of our closest friends. So with out further ado…

Author: Ryo Murakami.
Also know as: P.A.N.
Publish in: Poker Flat, Dessous Recordings, Relaxine, Morris Audio, Quintessentials, Panrecords.
Related artists: DJ Pige, Maako, Yuki Masda.

Interview

Del Jardin Latino: -Tell us about the set.

Ryo Murakami: -This is  a liveset in Hamburg.

DJL: -How would you describe the actual electronic scene in Japan?

RM: -Scene is small, but thinks that there are a lot of good artist and DJ.

DJL: -Which are your future plans regarding releases?

RM: -12′ EP appears from a own label in August.

Just grooveboxes, synths and samplers.

http://www.ilovevinyl.de

As a newcomer on the international House Bass circuit, Bowly started to make some noise in the UK Funky, Dubstep & Garage scene, his tunes being played by the likes of Ikonika, Cooly G or Geiom. For his MUTEK 2010 performance, Bowly performed a live set filled with new material specifically composed for the event.

Peter Kuschnereit, born in Berlin in 1970, has grown up in a historical quarter of the city, Kreuzberg. He still lives and works there. In 1991 he started to work at the legendary record store Hard Wax.
Pete is not only a DJ, also a producer. Inspired by the first generation of artists in Chicago and Detroit and above all, from the productions of the house neighbors, Basic Channel. Pete, in collaboration with René Löwe (aka Vainqueur), has given life to the Scion plan, whose first Ep “Emerge” (1995) marks the birth of Chain Reaction.

Podcast number 11 sees us shift direction slightly once more as we bring a live set recorded in June this year from the all too fabulous Niederflur.

Hannes Wenner and Christopher Bleckmann aka Niderflur were one of the first acts to be signed to Richie Hawtin’s now seminal M-NUS. Do not be fooled however, their focus remains firmly on moving forward as critically acclaimed work for the likes of Archipel has proven.

Having worked together on their music for over twelve years, Niederflur never took the easy route instead striving to stay true to their very own sound-universe built around ground-shaking basslines and forcing drumpatterns. Their constantly lucid sound, known to be very defined and deep has remained yet evolved to a more impulsive style over the years.

For this Technique Podcast we suggest you sit back and take the time to open your minds to the dark world of Niederflur.

Published / 26 July 2010
Filesize / 74.21 MB
Length / 01:01:49

The veteran Parisian DJ lays down an hour-long session of sumptuous bassline-led house music.

Anyone bothering to handicap the year-end polls of dance music that mattered in 2010 will likely need to slot in Parisian DJ Jef K’s remix of The Gathering’s “In My System” somewhere near the top. The track has stormed deeper dance floors this year, its infectious bassline a standby in discerning jocks’ crates the world over.

K is a DJ first, though, honing his craft since the early ’90s after a lengthy visit to the UK opened up his ears to the sound of US garage. K took “the vibes,” as he puts it, to Paris and, in turn, became one of the city’s most respected spinners, earning himself a residency at Rex Club in 1998. He brought Dixon to town for the Innervisions’ head first gig outside of Germany, orchestrated Herbert’s first live show in Paris and also held residencies at Frankfurt’s Robert Johnson and Brussels’ Fuse as well. All this in addition to running Silver Network and co-helming the beloved Crack & Speed imprint. Needless to say, the man’s house bona fides are unquestioned. In his hour-long mix for RA, you’ll begin to hear why.

What have you been working on recently?

I’ve been working on music recently, after the great feedback from The Gathering’s “In My System.” I now have a few tracks ready that I did with my mate Gwen Maze from Paris. I’ve also been touring around. I just came back from beautiful Croatia, and will be on my way to China in a bit.

How and where was the mix recorded?

It was one of those sunny Sunday morning sessions, after a good gig at Nouveau Casino in Paris. There was only me and my beautiful Korean queen at home. I pressed record and played good tunes for her.

Can you tell us a little about the mix?

I really enjoy playing slow. This mix starts at 117 BPM and finishes at 120. It’s the best way to hear the basslines, which is to me (and others) the most important thing in music. The tunes were some of the best I had at the time.

Who was it that inspired you to become a DJ when you were in London?

I was a big fan of Paul ‘Trouble’ Anderson’s shows on KISS FM. I was going out to where he was playing. I remember the Kinky Disco night at Shaftburry’s was excellent as well. They were playing all the good tunes from labels like Strictly Rhythm, producers like Victor Simonelli and Joey Negro. Really underground US garage was the thing for me. I was also a big fan of Colin Dale’s shows, and the pirate drum & bass shows had a great energy as well. I started buying records there, and started DJing in Paris when I came back in 1992, bringing the good vibes that I heard in London.

Up until now, you’ve focused on collaborations in the studio. Can we expect any solo productions anytime soon?

It’s fun to work in the studio with a good mate. I like the exchange of ideas. I’m also not totally able to work all alone. My first try to do this was the remix of The Gathering. I did it on Ableton alone on my little computer (with, of course, the beautiful vocals from Chez Damier and good help from Chris Carrier for the sound quality at the end). It worked pretty well, so I’m in the process of doing more solo productions now. Stay tuned.

Has Crack & Speed now firmly been put to rest, or will it see a return?

Crack & Speed was, at the beginning, a good joke. It started in NYC with my man Holmar Filipsson and Jack from DIY. Then Sasse, AKA Freestyle Man, came on board really quick. We were really surprised about the great feedback we had, and even managed to have artists like Jay Haze and Abe Duque working for us on this label. After 15 releases we decided to stop it, and it’s now in the vaults of many record collections I guess. No digital releases are planned and no more website, I think it’s cool to keep it like that.

What are you up to next?

I am right now preparing the September releases with some yummie remixes of “In My System” on my label Silver Network (still going on since 1999, 27 releases so far), working on music, working on music, working on music and touring, hopefully DJing in a city near you soon.

1) Can you tell us a bit about the mix – how did you approach it?

This is just a mix up of some of my favourite tracks at the moment. It also gives a good indication of the vibe that i’m playing out. Looking back at the tracklist it’s actually pretty upfront for me. I normally play more of a mixture of old and new stuff.

2) How and where was the mix recorded?

I just recorded the mix in my studio at home, just on some CDJs and a pioneer 600 . Nothing really that special to mention i’m afraid. However, I do often edit the tracks I play a bit before hand, to make them more to how i feel they will work when i play them. Especially for studio mixes when you have more time to think about how you want to piece things together.

3) Is the ‘how’ important? IE are you strictly vinyl, digital only, a keen fan of gadgets like FX boxes etc etc?

For me, personally, I’m not that fussed. Right now i just play out using CDs and a tiny bit of vinyl, sometimes. I think everyone has their own way of working, and if it works for them, then that’s great. People get too caught up about the ‘how’ sometimes and forget about the music, which is the most important part for me. Saying this, i’m looking to get into ableton or traktor soon though, as they both look like pretty cool programs.

4) And for a normal set in a club – how much preparation goes into each one? How much planning do you do or are most of your sets done on the fly?

I’d love to say i’m one of those people who meticulously plans everything before hand, but i’m very much a ‘on the fly’ type of person. I also find that if you have this approach you can adapt to the crowd/situation easier. I mean you could have planned the best set in the world, but if the crowd isn’t feeling it, then you’re not doing your job.

5) You’re playing a set for Ketoloco @ The Light Bar on Sunday 29th August – what can people expect from you?

More of the same with a few surprises and maybe some more exclusives!

At a time when so much techno feels like endless variations on a played-out theme, it’s heartening to know that there are still a handful of artists, labels and DJs who can combine experience, skill and forward-looking ideals in style. Step forward Jeremy P. Caulfield, who amply ticks all of the above boxes.

• Artist: Jeremy P Caulfield
• Title: FWD0105
• Length: 58:45 minutes (80.85 MB)
• Format: MP3 Stereo 44kHz 192Kbps (CBR)

One of techno’s most revered figures, the Detroit-hailing producer co-founded Underground Resistance with Mad Mike Banks and Jeff Mills (he was their self-proclaimed “Minister of Information”) before embarking on a solo career that has expanded – through a studious, near-spiritual process of refinement – the very language of electronic dance music.

Hood left Detroit in 1992. Having previously set up the Hardwax label as a platform for raw, expansive productions from himself and Claude Young, by ’94 he was moved to inaugurate a new imprint, M-Plant, to showcase his increasingly streamlined sound. So began arguably the most illustrious phase of Hood’s career, with a steady flow of landmark releases under his own name and aliases including The Vision, Mathematic Assassins and Floorplan (the latter’s pistoning disco bomb ‘Funky Souls’ was recently reissued by Rush Hour). This surge of creativity culminated in Minimal Nation.

The record that birthed an entire techno aesthetic, Minimal Nation is Hood’s most famous excursion into heads-down motor-funk. The etching on the original Axis pressing of the record reads ‘Music for the progressive’; sixteen years on and that assertion seems no less valid. Indeed, it’s hard to imagine Minimal Nation will ever date.

Why exactly is Hood’s music so future-proof? Perhaps it has something to do with its purity: from an early point in his career, this preternaturally thoughtful man was determined to home in on the essence of techno, to strip away everything extraneous. For Hood, minimalism wasn’t just a gesture, it had a personal and a political resonance as well: “It’s a direct reflection of the way the world is going. We’re stripping down and realizing that we need to focus on what’s essential in our lives.”

There’s much more to Hood’s career than Minimal Nation, though – from early classics like ‘Internal Empire’ to more recent LPs like Point Blank and Wire To Wire. For a more detailed insight into his discography, check out The Essential..Robert Hood by Ruaridh Law.

This year saw the release of Omega, a brand new artist album from Hood inspired by apocalyptic sci-fi movie The Omega Man (1976) – he told us all about the album and its motivations in this interview. The album launch party took place at NITSA in Barcelona during Sonar week, and Hood has granted us permission to use a recording of his set that night as his FACT mix. It’s the perfect way to experience Hood’s hypnotic, remorselessly industrial sound – live, direct, feeding off the dancefloor’s energy. Oh, and a you get a great hoary-voiced intro from Detroit Grand Pubahs’ Paris.

Kadebostan Live “Where is the Mystic ?!” @ Distillery Leipzig 2010

Author: Van Hai
Publish in: Time Has Changed, Perspectiv, Natura Sonoris, Meerestief, Factor City Records, Kina Music
Related artists: Ripperton, Cora Novoa, Henry Saiz, David Durango.

A live set 100% Van Hai’s music, a storytelling that keeps you intrigued from the beginning. Different elements gives his personal touch which does not recognize genders, it covers the whole concept of music.

Interview

A breif preamble for a more than special interview. The excuse is the release of Intimacy, his first album on Natura Sonoris. And Van Hai found our garden quite comfortable, and gave us an interview accord to his actual mood at this point. Intimate, he confesses and turns out to be everything that we imagined about him by just meeting his music, a sensitive, cultured and open minded person. Once again, I’m pleased to introduce you an interview out of series. Here the note.

Tell us how were your first steps in music.

My first steps into music began in the late 80’s, I played bass in a punk band. Then in the early 90’s I wrote and rapped in a jazz hip hop band, but my revelation is in 95 – 96, with the first album from Massive Attack, Bjork and Portishead, Radiohead’s OK Computer; the trio Aphex Twin, Squarepusher and Luke Vibert; the drum and bass and the breakbeats; Mo’wax, Ninja Tune, Warp; The French Touch with La funk Mob, Motorbass, Alex Gopher, de Crecy, I: Cube, Laurent Garnier, Carl Craig, Derrick May, Ken Ishii, DJQ, Autechre, and I forgot a lot. Blessed time/very good grass. It was then that I started mixing and composing on my computer. All works of this period went up in flames with my hard drive.

In 2000 I moved to Asia for a few months to work, when I returned, everything had changed. Fisherspooner, Miss Kittin, Felix Da Housecat, Hell, were on the way to clash the house. I signed immediately! A return to punk, the cold wave, industrial, Kraut, all my early roots. Wild sets, hard drugs, afters. My first attempts in electronic music are from 2004-2005, first livesets for a collective in Geneva (Littlehouse). I leave my basement late 2007 after one album burnt again in another disk crash, electroclash died under the sword of James Holden. And a new project that will be cut into pieces, some will go to Perspectiv records the label of my mate Ripperton, the other at Time Has Changes, the excellent label based in Montpellier/France. Here’s the beginning =)

What kind of music did you worked on in your first attempts in electronic music back in those days?

Something in beetween punk, cold wave, downtempo and techno… I made an album called ISM with 15 tracks (I could just keep the .m4a layout edits, but any original files). It was not so far from what I produce now, except that I have discovered the tools of production. The result is a bit clumsy and technically poor. For Intimacy, I rewrote a track of this lost project, ‘Projectile’.

You’re from Vietnam, tell us about the music in your country and how did you end up living in Switzerland.

I didn’t really know Vietnam. I was evacuated and adopted in Switzerland when I was a baby, the last weeks of the war.
I went back there for the first time in 1999 and returned in 2000. It was the shock of my life. I experienced things unimaginable, mystical. I realized that I had prophetic dreams since 1994 …
The music in Vietnam is the pinnacle of what one might call popular music, sad, sweet and often indigestible. But after several weeks of immersion, like everything else, I started to find it logic. And the image it left on the Vietnamese people struck me as deep. At this point I found myself repeatedly in karaoke singing of vietnamese sad songs, I went through hell and heaven during this trip. My second war.

Would you say there was a change in your artistic perception before meeting the place where you were born and their culture?

Absolutely, it is not possible to remain the same after that. I realized that I was making survivor music. Very dark, sometimes a little crazy. Like me, she was rooted in a lack of roots and with a bit strange emotions.

After meeting different structures and genres of music, and then the components of the popular music back in Asia, would you say that you were influenced by these elements of popular music, testimony of a culture?

As I am a perpetual spectator face cultures in which I move, I completely fail to identify with something popular. I respect and think popular music is very useful to create an identity, but mine has been created outside of that. I had an early and difficult adolescence, it made me come into contact with strange movements very soon. At age 13, for example, listening Joy Division and Bauhaus, used drugs…
All that to say that in terms of popular music I am very misplaced. I think I receive more and more people with my music, but far enough from what’s on the radio every day. I have no desire to remain underground at any price, I’m just unable to imagine doing differently.

There are songs that unite, and music that isolate. I do not speak to the crowd, but to each individual.

Which would you say are the highlights of your career so far?

This may seem presumptuous perhaps, but my highlights are not in my career. They are first in my life. Certainly because I didn’t found before thousands of people shouting my name, but I do not live for it. I rather prefear the real contacts, my family, my friends, the artists with whom I work. And to tell the truth in music I’ve never equaled in public my pleasure to write alone in my studio or at home. I think I am old enough and wise not to give way to the oversized ego and six months of pseudo-celebrity who make me a jerk.

How is your setup when playing live sets, have you considered adding some new gear in the future?

I work with Ableton Live, an Akai APC40, sometimes a Kaospad for the effects, sometimes my Novation Remote 25SL, and a Konnekt live soundcard. Sometimes a microphone for the vocal tracks, but at this time it’s very rare. As I’m alone and all the tracks are very complicated in their structure, I can’t play loop edits and afford my liveset as ‘minimal’ artists. I work on multitracked main channels, with some events.
In the future, I really want to test the Ipad, I’m sure it can be very powerful in a set. Just waiting for the apps =)

Have you worked again in bands or have you considered doing it?

I dream of recreating a band! But right now it’s impossible, because of my imminent departure to Asia. Let’s see there, but I doubt to be in line with their vision of music.

Intimacy had a great reception so far, both in public and media, how was the creation process?

As I have always built my projects as LP’s and then cut into EP’s by affinities, the process has not changed much at first. What was really decisive and complicated it’s to stay in LP format, keep the red wire, and a consistent sound and theme. The final choice of pieces, and working on the final sound was the hardest part.

Following the titles of the tracks and the record it seems that you chose to tell different stories in it.

Yes, correct. It all started with the serie of portraits that I began to compile since 2 years. As this is my first project to be released in this format, I wanted to attach myself to everyday things: my friends, my favorites, my own feelings to create music. It is a diary of the process of creating the album. For example I wrote The Daydream in a lounge chair under the sun of Laos. A romance is a picture of my brother and his girlfriend, who at the time were often separated by many train journeys between Freiburg (DE) and Geneva (CH), they lived a romance that was to constantly reach one another. The pleasure and joy of these journeys have inspired me. Luna Park is the amusement park where I met my wife when we were respectively 13 and 15, in which sometimes we go with our daughter.

All tracks on the album are small stories.

How was working with Cora Novoa for Luna Park, you met her before working together?

I met Cora the first time I played in Barcelona, I just started to work with Natura Sonoris and they wanted to know me and see me playing there, it was a very nice weekend, spending time with all of them, we directly had a nice feeling with Cora and made a track together. And with David Durango for Perspectiv in 2008 (Bodas de Sangre). It was logical to continue collaborating for Intimacy as well.. I’m just finishing a remix for her first album too =)

I’ve seen that you also write, right? Have you published something?

Yes, I write a lot, fiction, lyrics, thoughts and poems. It’s a little early to try to publish. I reserve it when my music source will be dried up and that I might have more perspective and wisdom to face things around me.

Tell us what kind of music you enjoy listening nowadays, what’s the latest you’ve discovered?

The last things are: the last Efterklang album ‘Magic Chairs’, the last Caribou ‘Swim’ album, the Martin Buttrich ‘Crash Test’ album, the upcoming album of Cora Novoa ‘Secret Garden’, still on the Ripperton’s Niwa, an old Divine Comedy album I didn’t knew in 90′s ‘Regeneration’ produced by Nigel Godrich (Radiohead prod), ep’s and demo tracks from Christian Löffler, Ken Hayakawa, Nhar, Tornike, all the artists I love and expect to release on my label =).

Thanks for everything Van Hai, as a last question we’d like to know if you have any more projects for this year. Hope to see you touring south america soon ! =)

Well, I’m trying to release the second album called Ruptures for the day I leave definitely Switzerland for Laos, normally middle of october (I really try to stop the ep format, or only if the project fits with it), it’s an album about love crashes, missing things… I’m launching the label we own with David Durango, Mescene Records. I made the first test release, some of the artists I mentioned above should be aboard this year.

Yeah, any week passes without comments and messages telling me to come in Argentina and South America! I’d really love to play and visit this beautifull part of earth, people who come back from there are just amazed… So let’s see, it’s very difficult to have serious propositions from South Amerca, I had some but never enough ‘cleans’, let’s see for the future!

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

It’s with great pleasure that we introduce Ray Mang as the DJ to mix our latest podcast.  He’s just done these amazing remixes of 2020Soundsystem, which features on the mix amongst loads of other modern disco delights.

After causing a stir in the more minimal circles as Miss Fitz, Maayan Nidam broke out with Nightlong, her stunning debut album last year on Powershovel Audio. With her intelligent and graceful use of the original Cuban music, her delicately crafted loops and her overall great structure, she is proving to be a gem of a talent. And she continues to surprise, from her heavy and twisted release on Perlon late last year, to ‘Greatest Tits’ her intriguing EP on Wolf + Lamb, whose multitudinous elements give you a giddy glimpse through her sonic window. For this Hybrid Life podcast she delivers once again, displaying the rich, wonky, deep, passionate music that we are growing to love, more and more.

Maayan is currently on tour in Japan, when she surfaces we’ll try to get the track listing for this podcast over to you. If we don’t get it in time don’t fret, she’ll be in London on 7th August to play at Fabric alongside Seth Troxler and Nicolas Jaar, so you’ll be able to ask her yourself.

Sean Danke also known to his friends as Gretar Gunnarsson started playing in school events back in 1984, closely followed by outside organised events at local youth clubs. This progressed to raves in the early 90..s, influenced by the culture he carried on this following to warehouses and other organised rave events in and around Reykjavik. His following began to increase and respect for his style lead to nights at a huge club in the middle of the city called Tunglið (Moon Club). Playing regurlarly on Friday and Saturday nights, introducing new ways to mixing with his own style and passion. It was here after 3 weeks of playing Sean started being approached by music media. This lead to playing on a radio show here called the PartyZone, and soon after a CD release of this show in 1995 and a further release in 1997. A collabaration with Frankie Valentine in 1995 lead to the release of a new record label called ICON Records. As a partnership they released four 12” records up to the year 1997. In 1998 he bought a record shop in Reykjavik centre called Þruman (Thunder Records).. In 1999 Sean started a clubnight called Atom with his partner from a local magazine called Undirtónar. Guests on this nightclub included Richie Hawtin, Christian Smith, Luke Slater ,Marco Carola and many more. With his old partners from the radioshow PartyZone Sean did a hugely successful clubnight with Timo Maas in the year 2000. In 2001 he started working with a nightclub called Thomsen bringing in to Iceland dj..s like Lee Burridge, Misstress Barbara, Adam Beyer ,Marco Bailey and Monika Kruse. That partnership lead to the start of one of the most successful clubnights in Iceland called ElektroLux in 2002 where dj..s like Sasha, Nick Warren, Sander Kleinenberg, Lee Burridge, Josh Wink ,Dave Clarke, Felix Da Housecat and many more, all played with him. In 2003 Sean started to work on his music productions with Scheizer Goodman, they have worked on remixes for Gus Gus and Blake. In 2003 Sean also started again to work with his old partners from PartyZone at new club called Nasa, dj..s like Layo & Bushwacka, John Digweed, Sasha and Misstress Barbara have all played with Sean at Nasa club. In 2005 Sean started a new company called Flex Music (www.flex.is)with his friend Heiðar ,their goal is bring club scene to new standard in Iceland ,they have set up clubnight with Nick Warren, King Unique ,Max Graham and Dubfire (Deep Dish) in 2006. In august 2006 Sean moved from native Iceland to Glasgow to study audio engineering at the SAE institute and signed his latest track to Thugfucker recordings, which was released feb 2007 with remixes from Adultnapper and Ulysses. In September 2007 Sean finished his audio engineering diploma and has been working hard to perfect his production and remix skills. 2009 was fruitful year for Sean and he has had many releases and remixes on various labels like Affin, Kindred Sounds, Bleep Bloop, Spinifex, Pollux and there is more to come for 2010, so stay tuned.

Norman Nodge is a resident dj at Berghain since 2005. Being a life long music lover, dj and promoter of his own parties all led up to his current status of Berlin’s secret weapon for serious techno.
Born in East German Leipzig, raised in Brandenburg, Norman got bitten by the techno bug after the wall came down. From 1994 on he promoted several events, which also helped to launch his career as a dj. At these parties, he crossed paths with Marcel Fengler and Marcel Dettmann for the first time and literally became their mentor for all things techno.
At the end of the 90s, Nodge backed out of the local nightlife in order to focus on becoming a lawyer and starting a family. Five years ago, though, Marcel Dettmann pitched him to Berghain’s management and he became a resident instantaneously. Since then, he plays there once a month specialising in the almost forgotten art of warming up at the beginning of a night. In 2005 he also started to produce his own tracks. His maturity proved to be very beneficial in terms of his artistic vision, as he made up his mind about what he likes and what not a long time ago already. Unsurprisingly, his outings on Dettmann’s MDR label, as well as his track „Native Rhythm Electric“ for OstGut Ton left a deep impression with headstrong techno lovers. With his dusty funk, static hiss and the rich thump of his kick drums, he managed to made himself recognised as one of techno’s more unique auteurs.
Norman Nodge cites Detroit techno (Jeff Mills, Rob Hood, 430 West), Chicago House (Relief, Dance Mania) and Techno (Luke Slater, Peacefrog, Mark Broom) as his most essential influences. Hence, it is not surprising that he fuses the old with the new, the soft with the tough when he plays out. „It is my goal as a dj to make people dance withought walking on trodden paths of recent trends. I want to sensitize dancers for unusual sounds, old and new.“

BONUUUUSSSSSS! Here’s a little something we recorded at our Midweek Techno residency in Boston a few months back. It was originally posted on the Hybridlife podcast to accompany our interview. Now we’re reposting for your lazy Sunday. Enjoy it

Published / 19 July 2010
Filesize / 46.92 MB
Length / 00:39:05

The London-based duo mix up influences and fresh material on this week’s podcast.

Bursting onto the scene with their Maybes EP at the start of 2009, Mount Kimbie, the duo of Dominic Maker and Kai Campos, quickly impressed heads with their idiosyncratic takes on micro-garage, wistful downtempo techno and loping, twee dubstep. Their willingness to subvert such a multitude of genres gives them a sound unlike any other, skewing typical song structures but with a keen sense of melody.

This week heralds the release of their debut album, Crooks & Lovers, which sees Campos and Maker spread their loose and dreamy sound over a short but sweet 35 minutes. They’ve been busy touring with their current live set-up, recently playing at Berghain for Sub:stance’s 2nd birthday, but this week’s RA podcast sees the pair eschew the instruments for a specially tailored showcase of where their musical heads are right now. We shot them an e-mail to ask about the mix, plans for DJing in the future and their current live show.

What have you been working on recently?

Mostly we have been trying to improve our live set, bit by bit. It can be hard to find enough time to use everything we’re learning between shows, but we’re adding stuff all the time. Really looking forward to sitting down and writing some new music soon though.

How and where was the mix recorded?

The mix was recorded at Kai’s house in South London using a laptop, a Kaoss pad, and for various technical reasons a 4-track tape machine and a field mic!

Can you tell us a little bit about the mix?

It’s more of a collage – I wanted to show some stuff that has really had an influence but we don’t often talk about, I guess. People ask about why or how we decided to make the music or ‘the sound’ that we have so far and it’s always quite hard to answer and seems a bit weird. It’s often hard for two producers to work together but I think we both were in the same place and had a similar idea of where we wanted to go artistically. This mix defiantly represents one side of that. In a sense each one of the songs (excluding our own) has been like someone you meet on the way to somewhere else, if that makes any sense, and I hope that all together they give a better sense of our movements over the last couple of years.

How have the live shows been going? Have you had any difficulty translating the more complex parts of the album into a live configuration?

The live shows have mostly been amazing. It’s just a completely separate art and one that we’re excited about and learning a lot about all the time. Some of our songs can seem impossible to play in an interesting way in our current set-up. We tend to change them a bit depending on the song and how we feel we can express it best in the live environment.

Did you have much input when it came to selecting the artists for the two remix EPs? What did you make of the results?

Yeah, we were asked, but it’s a bit funny because my mind went kind of blank. I love the remix EPs. I didn’t know how much I liked the Instra:mental remix until I heard it by chance a few weeks after it had come out, and it just hit me, and I always think that’s a good sign.

An artist named Klaus seems to be a new collaborator for you guys, with an unreleased track here on this mix. What can you tell us about him?

Klaus is another guy from South London. He makes really beautiful music that’s original and so well crafted. We met through James Blake. I think James was playing a really early beat or sketch that Dom had done and he really liked it, took it home, cut it up and made quite a bit of the track in the mix. Then I got him to send over some bits that he used and added more and another ending which got cut off in this mix. It was actually a really fun way to work and we’d like to do more with him soon. His MySpace is here.

What are you up to next?

Lots more gigs this summer. A couple of dates with The XX, US tour in September, then back to Europe for a bit. That should keep us busy for a while which is great, and then hopefully we’ll have time to look back at 2010 and figure out where we want to go next.

When Nico Purman discusses his production style he attests, “I don’t think too much, I just feel.” If that’s indeed the case the Argentinian producer/DJ has impressive instincts for etching nuance into viscerally appealing house music. Perhaps his early interest in dance music at age 12 offers some explanation, especially in combination with alternating periods as a rock drummer and house DJ. From his first release on Modelisme in 2005 he’s shown a level of rhythmic and textural sophistication many only aspire to, and his subsequent platters for Curle Recordings, Mule Electronic, Crosstown Rebels never failed to intrigue on some level. Now based in Berlin, Purman seems to be coming into his own with the support of frequent label home, Vakant, exploring a slightly looser, housier side that’s positioned him well in today’s dance music climate. In this rare interview, Purman discusses his dance music education, his hands-on approach to percussion, and the music trio he’d most like to show up at his studio. And in LWE’s 54th exclusive podcast he exhibits the dynamic DJing style that continues to win him fans over an hour’s time.

Mathias Kaden said in an interview that he’s seen you DJ multiple times and that you vary greatly from set to set. What sound were you representing on your LWE podcast mix? Is it fairly similar to what you would play at a club gig?

Nico Purman: The sound of the this podcast is deep at the beginning, more house, funk/disco and some deep techno at the end. At a club sometimes it’s different because it really depends at what time you play, and if the club is big or small. I really prefer to make things deeper where the people enjoy more the music in itself, than to overexcite the crowd with banging beats and noises. I play some old tracks mixed with new; I like to share feelings, emotions, and influences at the same time.

What was your local Argentinean dance music scene like as you were growing into being a producer? What was it like when you left for Berlin?

The scene in Argentina is not as in Europe, of course, but there are a lot of talented artists and DJ friends who are doing a great job. Some are following the ones who had success and try to copy the formula, and some are really creative people who don’t go with the flow, and this is interesting. But about the club scene, there are big clubs that spends thousand of euros on commercial acts and the trance scene was really big, so there are not too many options for the good music. There’s some small clubs that are trying for years to keep the underground alive and they’re doing a great job, like Cocoliche in Buenos Aires or any other small venue that tries to focus the party on the music.

From what I’ve read you were introduced to Belgian New Beat and Chicago acid house more or less as it was happening. How did you get ahold of these imported records in Argentina? What was that like for your young mind? Hearing them, did you know you wanted to make music like that at some point?

I used to go to a record store in the city I lived, Rosario, and they brought white labels compilations with this music, the pirate vinyl. It was made by DJs who had the original vinyls and pressed vinyl compilations with four tracks — it was dance music at 110 bpm and all the people liked in the clubs. I used to go to some clubs with my brother and we knew all the tracks and loved the music when we were kids. And then I ordered
some records from someone who traveled a lot — he worked for an airline, and he brought me some good stuff.

I understand you were a drummer in rock groups. Did you start out DJing or drumming? At what point did you begin producing your own music?

First of all I started djing, then learned drums and when I stopped playing drums I decided to buy some stuff to produce my own music. In 2003 I bought my first computer, a synth and a drum machine, plus Logic 5, and I started making my first experiences with it.

How have your years of experience as a drummer influenced your production process? That is, do you work on drums first and build from there or do you mostly work out the overall rhythmic structure, or…?

I think it’s important to know about rhythm when you try to emulate some acoustic percussion — drums needs to have a naturalness about them. I don’t like quantized percussion by a robot. I don’t have any structure, I can start with drums, or a melody from the synth, or a bass, or some other atmospheric sound that trips me. But I think it’s more a question of how I feel the music: I don’t think too much, I just feel.

Do you ever miss getting behind the drum kit? Have you had the desire or opportunity to record live drums for any of your tracks?

I really miss it, but its impossible to have real drums in my studio now, my neighboors would kill me. But some electronic drums could do the job as well. I didn’t play real live drums for my own tracks yet, but all the drums in my tracks are played by me, with the midi keyboard, with my sounds loaded in the sampler. I arrange every part of the drum kit or percussion in different channels. I used some percussion stuff from Brazil in my last productions, like pandeiros, handmade shakers and other different instruments made by the Amazon Indians, they’re made with materials they found in the forest. Just to add a color to the music, or add
some details. I don’t use drums loops or any sampled percussion loops. It would be really easy to sample the best drummers and the best conga players from CDs but I don’t like to do it, so I prefer to use the ideas I have in my head.

Personally I don’t hear many sonic references to Argentinian culture in your music. Is this a conscious thing or is it just much more subtle than most non-Argentinians would notice?

I don’t think my music represents the music of my country, but I’m really influenced by modern tango (like Astor Piazzolla) and the melancholic melodies. I think my first releases like “Lunatique,” for example, has some sort of tango/piazzolla feeling in the synth melody which sounds like a Bandoneon to me.

Listening over your tracks I get the impression that over time you’ve sort of lightened up musically and favored swinging house tracks over the more serious tech-house sound of your earlier work (eg. from “Desiree” to “All That Glitters Ain’t Gold”). Have your production tastes changed much in the last few years? Are you working with different moods/goals in mind when producing these days?

The thing is, I make music for periods of time, and I start doing what I feel in the moment. It could be ambient, dub, pop, house, and then later I open these projects and see what is more suitable to release.

What is one instrument, trick or method you’ve always wanted to use in a track that you’ve not yet attempted?

There are lots of instruments I really like, but it really depends on how is it played or the character of the sound. But I’m not a multi-instrumental player, so I start with a sound in my head and try to design the sound, and it never sounds exactly as I imagined but close to it, and sometimes it turns into another sound. I would like one day for Prince to come down an angel and play some guitars and vocals. Miles Davis and Hendrix are invited as well.

After shuffling between a varied group of labels (like Mule Electronic, Modelisme, and Crosstown Rebels) it seems you’ve mostly settled down with Vakant. What was your reasoning behind this decision? What do you like most about the Vakant group?

It all started in late 2007 when I sent a demo to Alex from Vakant and he instantly replied that he would like to release it. And then invited me to play at Watergate where I met him. We became friends, he helped me to find a booker, and then to move to Berlin. What I like about the Vakant group is that every artist has his own style and personality, but at the same time I’m feeling inspired by all these artists, too.

What’s coming up from you in the rest of 2010?

There’s one track coming out on a Vakant compilation which is new and really different, but in the vein of “All That Glitters Ain’t Gold,” and couple of more EPs not only on Vakant. And DJ gigs, of course!

This week we welcome Nic Fanciulli to the show. Nic will be apart of the huge 10th anniversary of global gathering which takes place at Long Marston Airfield in Stratford Upon Avon from the 30th – 31st of July.

Published / 12 July 2010
Filesize / 76.83 MB
Length / 01:04:00

One of your top 10 DJs of 2009 pops in for a rare insight into her varied influences.

Magda is among the last of what seems like a dying breed, a DJ that has made a career based solely around their talents behind the decks. The Minus mainstay has put her name to a production or two, but the reason that she has been among your favourite DJs of the past few years has nothing to do with anything except what she puts forth in a live setting. Her 2006 mix CD, She’s a Dancing Machine has come to represent a defining moment in Minus’ rise to prominence, and her blend-happy mix for fabric last year once again showcased the possibilities of the form.

For her entry into RA’s podcast series, Magda doesn’t get quite as deep into the mix, instead opting for a more accurate representation of what you might hear from her at a private afterparty: Stone-cold bangers of recent and classic vintage. Letting things breathe, she puts together tracks from Black Devil Disco Club, Lindstrom, Chris and Cosey and ESG into something she simply calls “a fun summer mix.” We wholeheartedly agree.

What have you been working on recently?

I have been working on an album and several remixes.

Your debut album has been in the works for quite a while now. How is it going?

Yes, it’s finally finished and the release date will be announced in the next few weeks. I had so much recorded material from the last three years, and it all finally came together in the way I wanted so I’m happy.

How and where was the mix recorded?

I recorded the mix using Ableton while I was traveling and in my studio in Berlin. I had to clean up a lot of the old tracks and try to make them sound better in the mix. That was the hard part.

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

I just wanted to make a fun summer mix, and something much different than I have done in the past. I used a lot of my favorite old post-punk/disco/electro tracks, many of which I would not be able to license for a DJ mix. It was really, really fun to put together.

As a performer, which style of DJing do you enjoy the most? More of a loop-based approach, or using your timecoded vinyl?

I do many edits, but in general I don’t like to play loops. I like when tracks build and change. I prefer to only mix two things at a time. At the moment I still use timecode vinyl, but I am working on a new set-up for the fall.

You’re known for your punishing tour schedule. Do you have any particular favorite spots to DJ, and why?

Haha, am I known for that? Punishing indeed, but it’s fun! There are so many lovely places to play, and I’m happy to be able to play there. I have to say my nights in Germany at Robert Johnson and Loft Club have become my favorites. The atmosphere is small, dark and hot, and the crowd is with you the whole night. It’s really fun to do long sets there.

What are you up to next?

I’m going to start working on a live show for next year. In the meantime, I’m going to do some remixes and a DJ mix for BBC radio in the UK.

This week making his clubbed up debut is mr Tim Xavier. Tim’s new album Viperfish is available now on all the major download stores.

After receiving his friend Oliver Deutschmann, our today’s guest is another important figure of the Vidab machine. With only ten EPs in 5 years while others sell nearly one release per month, Koljah certainly isn’t the most prolific artist we know… That could explain why each release coming from him has something special, a kind of quality pledge…

Just like Oliver Deutschmann’s set, this mix, recorded live from the decks, is probably one of my favorites since we started our podcast series. Subtly dosed, flirting as much with DJ Koze’s tech house  as with rawer techno, it appears to be the perfect association between his influences… By the way, the mixing technique is perfect, but do I really have to mention it?

(Pic by Nadja Giese)

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…

An exclusive DJ Mix including an interview with the artist and labelowners.

New entry on London-based podcaster Tinker is the new member of the Bass Culture family, Oleg Poliakov.

Location: Washington DC, USA
Format: Live @ Muse. June 11, 2010
Duration: 60 min
Size: 82.5 MB

Infectiously upbeat and powerfully emotive, the music of Washington D.C.’s Dave Cortex fuses funk and melodies with driving grooves to create unique yet relevant house beats. In just a few short years Dave’s releases have gained the support of a large and diverse amount of A-list taste makers – such as Top 100 DJs Eddie Halliwell and Groove Armada, Grammy winners Dirty Vegas, and respected underground names like Jaytech, Thomas Penton, Pole Folder, and many others.

His music has been charted by publications like DJ Mag and Ibiza Voice, and heard on FM radio throughout the world. Dave’s story starts much earlier, of course. A child of the 80’s, Dave grew up listening to the commercial sounds of the era, which heavily influences his music today. In high school he discovered house music thanks to Daft Punk’s ‘Around The World’, and he was soon enjoying other electronic acts such as The Prodigy and the Chemical Brothers.

It wasn’t long before Dave was attending raves and learning to DJ himself! In the early 21st century, Dave rose to local prominence by hosting his own parties and winning several area DJ competitions. He quickly caught the attention of DC’s largest promotion companies and nightclubs, and was frequently invited to perform as the opening DJ for artists like BT, Josh Wink, and Roger Sanchez. Dave was often booked at the famed Buzz parties at Nation – the US’s most renowned superclub night of the era – and he played other high-profile events such as Baltimore’s Starscape festival.

To this day Dave Cortex’s memorable DJ sets consist of complex harmonic layerings that maximize energy while completely immersing the listener. By the mid-2000’s, Dave felt he had done everything he could with local DJing and was no longer feeling challenged. So he decided to finally learn something that had long both fascinated and intimidated him: music production. Taking a large break from the constant clubbing of his youth, Dave isolated himself and constantly worked on learning his art.

After a few frustrating years, he eventually gained confidence in his abilities and saw his first release in 2007. Since then, Dave has quickly established himself as one of the most exciting up-and-coming names today. His stand-out music takes influences from a wide variety of genres and rolls them up into a distinct sound that doesn’t fit nicely into any existing subset – resulting in fans and playlistings from across the dance music spectrum.

The key to Dave Cortex’s success is simple: he spends as much time as possible in his studio, loving his time with the craft, and is always challenging himself to raise the bar.

This podcast was done by Gaiser. After his latest release on Minus (MINUS90 – Static Level), he shows us some of his most influential tracks. Please open your artwork window in iTunes to view his descriptions and links.

A deep journey through dub and techno music

Biography

Reference consists of the Detroit-based artists Luke Hess & Brian Kage. The group was created for the expression of underground music and dance culture. Luke Hess is a name synonymous with the ‘dub techno’ sound but his roots go deeper than that. His continued hard work as a musician and his talent as a DJ has allowed him to release music on some of the most respected labels, and play some of the most prestigious clubs in the world. Brian Kage is the founder of the record label, Beretta music. Along with a countless number of successful releases, Brian’s experience as a producer, DJ, and label head has helped catapult the careers of some of today’s brightest and best artists in the dance music community.

Like any pure artistic or avant-garde entity, they have no concern for following trends. Hess & Kage have come together to create music in it’s truest form; Experimentation, soul, sweat, live instrumentation, and organic sounds all welded together to form deep and timeless music. The main concern of Reference is to stand diligently behind the foundation of underground culture and against the commercialism that longs to destroy the freedom of our senses.

Author: Jürgen Kirsch.
Publish in: Glukskind (Own label), Stil Vor Talent, Nordik Net, Youngsociety Records.
Related artists: Dubnitzky, Micha Klang, Someone Else, David Pher.

Biography

Juergen Kirsch, the cofounder of the “Glueckskind” label & artist on the Berlin-based imprint “Stil Vor Talent”, is one of the most promissing young artists from the “electronic music” dance scene. Working as a resident DJ in the Nuremberg clubs BASE, Mothership & Rakete, more and more he found his own way to the very minimal and sound oriented electronic music. This isn’t only the dance music as most of the works from his beginnings, but a part of the process toward very own and unique style.

Juergen about himself: “I am not someone who likes to make the things too obvious. It’s a joy to take people on a tour through a new and unknown soundscapes, and although I could be dubbed as the most technoid sound maker among my peers, it’s definitely not easy to pin me or my music in some well-known schedule.” Raised on a steady diet of Detroitism, he used to wear his Underground Resistance shirt with so much dignity it became symbolic for his own struggle to make himself be heard without losing his integrity. His music certainly isn’t hype or trying to fulfil the expectations of his near surrounding. Juergen is moving forward with an open mind and ear, and with a bright view in the future. Probably just because of this, he has become one of the most authentic and interesting electronic musicians coming out of the German dance scene… Whilst exploring the “New” Jürgen keeps on doing his best: Enchanting people with his charismatic individualism that makes you want to dance.

1 of 10 tracks from the current W+L album “Love Someone”.

Marcus Vector may not be the most famous french electronic music artist, but he is for sure one of the most talented… He’s been living in Brussels for several years now, and it’s from this city that he produces tech house on labels such as Contexterrior (founded by Jay Haze and gathering among others Bloody Mary or Shonky), Tuning Spork or Toy For Boys Records, the label he cofounded with his friend Sierra Sam. The two producers have been working together on Marcus’ solo works and they recently created an official duo called DIY (Dumb Irresponsible Youth) for their Contexterrior and Tuning Spork releases. They are going to release an EP as Sierra Sam & Marcus Vector on Supplement Facts, Guy Gerber’s label, on 5th july, and two EPs on fall on Time Has Changed and Dirt Crew. Even if his DJ career began ten years ago, Marcus’ meeting with Sierra Sam has been an important step for him as the two mates know how to take full advantage of each other’s talent…

For the 19th Trace A Line podcast, Marcus enjoyed mixing oldies (but goldies) tracks with new catchy releases, giving the whole set a house climax perfect for the summer. By the way, if you like the mix you might want to appreciate his mixing skills at Fuse on July 10th, a Belgian club he loves…

Biography

This duo was created in spring 2009 in order to satisfy Philippe and Dang Khoa’s cravings for gangster basslines and disco irreverence.

One will already have noticed their remix work on Qoso’s Expo EP released on Fool House where their discographic path crosses for the very first time with the rest of the GTC roster.

Their infectious groove is ticking the right boxes for numerous Djs such as Ivan Smagghe, George Issakidis, Ewan Pearson, Roman Flügel, Chloé, Brodinski, Matt Walsh…

Consequently, Darabi is truly a crucial part of the new French underground. Making the most out of their recent recognition, 2010 is set to be an industrious year for the duo with the release of their debut EP on Get The Curse Music and a handful of remixes in the making.

Newest Crosstown Rebel Ashique Subhan, AKA Subb-an delivers an excellent mix for the series this week. The One Records co-founder & Below resident has slowly been carving a name for himself on the global music scene, with notable releases on his own imprint, Spectral and and his S.A.S edits with Adam Shelton on vinyl only label Foot & Mouth. His live set is one of the most in demand on the ciruit, always a different blend of his latest groovy tracks and edits. His podcast this week is a DJ set incorporating deep driving selctions; from funked up vocals to acid flavours and all that goes between. A perfect warm up for our next party where you can see Subb-an perform his live set on July 17th at The Mint Club.

It sure has been awhiiiile since we did a mixTape time, but when DJ Three sent me this drum & bass mix he did 1996 it seemed like the perfect way to bring it back for 2 reasons. First, because we had Three on mixTape time way back in 2008 before we even knew him personally. Second, because we’ve been loving the old school jungle/d&b sounds lately. It started with our remake of Goldie’s Inner City Life that just dropped on Crosstown Rebels, but seems to have been following us everywhere so we’ve even done our new Beatport chart with all our favorite jungle/d&b classics. Check this mix and you’ll see why!

Here’s a blurb he wrote about it for the Hallucination message board years back…

Rave culture having the musical timeline it does I had always been into drum n
bass and its various incarnations, albiet some more than others. Drum n’ bass
to me was a tempo thing rather than a specific sound, but thats another (rather
unnecessary) story.

(1995 / 1996) Genrally speaking, Drum n Bass was getting knee-deep in its
“golden era” around this time. It was finally starting to cross into other
areas and all sorts of people and artists were taking note. Richie Hawtin was
spotted at Fabio and LTJ Bukem’s “Speed” night in London. Sasha had a chart of
favorites in The Face magazine. Proverbial “outsiders” to the drum n bass scene
like Ashley Beadle and his Balistic Brothers outfit had released an excellent
drum n’ bass record on Junior Boys Own that DJ’s warmed to — the first of many
“outsider” contributions to come. Bjork dated Goldie (LOL). All these signs
of a scene and sound disocvering it was, for now, the eyes of the world.

House and Techno DJ’s from San Francisco (Markie of Wicked) to Paris
(Laurent Garnier) et al were beginning to stretch their wings and incorporate
some bits into their sets much the same way they would some electro,
dub and so on. I had experimented a bit (mostly at Florida institutions Simons
and The Firestone) myself and began to find a common aesthetic between house /
lounge-type crowds and certain drum n’ bass records. So, when i was asked by
Jask (Tampa deep house mainstay / Large Records, Soulphuric etc…) to play the
last night of his long running “Martini Jazz Thursdays” I decided to start
straight from the top with grooves i thought would work, but were certainly not
what anyone was expecting. Recorded off a TDK SA-60 with a little digital work
to fill the gap between side A & B…here’s what went down. Thanks to Jask.
And, thanks for your time. See you on the dance floor.

Mixed show of fresh tracks and featuring exclusive interviews with Robert Hood & Echospace

Biography

A pan-pot is a simple, workday knob, given to side-to-side flip-flopping and not much else. Pan-Pot, on the other hand, are a brilliant multi-dimensional Berlin duo currently twisting house and techno fans into rapturous fits. In just a few short years, Pan-Pot – comprised of Tassilo Ippenberger and Thomas Benedix – have developed a dominate presence amongst the top tier of electronic dance music, with an ascension paralleling the rise of their native label, mobilee records. Most recently, they demonstrated the height of their achievements with their “Confronted” EP on mobilee, which was swiftly followed by an impressive package of remixes by Adam Beyer & Jesper Dahlbäck, Slam, Martin Landsky and Dapayk.

After booking Anja Schneider for an infamously ill-fated party in 2005, the duo established a connection with Schneider’s then recently formed imprint and within weeks had released the Popy and Caste EP on mobilee – their first release and the label’s second. Graduates of Berlin’s SAE, their initial musical efforts placed a primacy on integrating electronic experimentation with minimal stylings while simultaneously establishing the ominous, murky sounds that have since become synonymous with their name. The next few years saw the release of a steady stream of original tracks and remixes on both mobilee and Einmaleins, each demonstrating the duo’s commitment to precise, undulating and kinetic grooves accompanied by a steady expansion of their sonic palate.

The defining moment of their career, however, was the release of their debut artist album, Pan-O-Rama. The first artist album to be released on mobilee, the aptly named Pan-O-Rama provided a stunning 360-degree tour of techno at its most twisted, balancing somber atmospherics with an impeccable lightness of touch. Serving as a playground for their experimental leanings, the album was a definitive statement of Pan-Pot’s past, present, and future: an affirmation of the possibility of a wider sonic spectrum that suggested a move towards stripped-down techno while simultaneously hinting towards a newly developed sense of melody.

When not in the studio writing original material or putting their unique spin on tracks by a myriad of artists, the bad-boys of impassioned, pitch-black techno can be found on the road touring at a near ceaseless level. Their dance floor oriented DJ sets see them playing back to back and are unconstrained by boundaries as they effortlessly transition between techno, house and everything in between, demonstrating an immaculate understanding of the audience’s wants and needs.

Their willingness to expand the components of their productions while staying firmly rooted in what they do best – colossal, haunting techno tracks overflowing with noise and static, throbbing bass lines, and epic builds that manage to be both tasteful and restrained – is only part of what differentiates Pan-Pot from the hordes of other techno producers currently flooding the airwaves. They may name themselves after a piece of gear, but Pan-Pot’s music is ultimately about moving bodies, not knobs, all the while giving way to an unprecedented degree of dynamism on dance floors around the world.

Published / 05 July 2010
Filesize / 74.51 MB
Length / 01:02:04

Chicago’s latest house music export lays down a live session for this week’s RA podcast.

Born and raised in the city that birthed house music, Tevo Howard caught the mixing bug at an early age via his older brother, taking advantage of easy access to his decks throughout his teenage years and securing residencies at local clubs by the time he was just sixteen. What with his father Rick—who also provides his earthy, downtrodden vocals to some of Tevo’s music—having a career as a blues artist, music has always been in his family. Keen to learn more about the technical side of things, Tevo went on to get a degree in the subject, but it wasn’t until 2005 that he started to get into production.

Just two years later, he’d started his Beautiful Granville imprint in order to showcase his work, quickly pricking ears amongst house music fans with his melodically rich drum machine workouts. The European labels were also listening: Rebirth and Rush Hour spread his name further across the Atlantic, paving the way for his first European dates earlier this year. With all his years of experience, he’s a dab hand behind the decks, but he’s equally adept playing live, which is exactly what you’ll hear on this live session recorded especially for RA.

What have you been working on recently?

I have recently been working on a remixes with Justin Long and Melvin “Traxx” Oliphant for my label, Beautiful Granville Records. I am also in the process of producing a release with Kate Simko. I am proud to say that us Chicagoans are finally ganging up to lay some of our ideas on paper.

Where and how was the podcast recorded?

This recording was recorded at Beautiful Granville Studio. I chose to incorporate a TR-606 with a TR-707 and a 303 clone. The middles in the recording have all been exported from my main platform (Apple’s Logic) and into Ableton Live, which both produces sound and controls the drum machines in time clock. All of the arrangement, then, is real-time recorded and mastered.

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

For this mix I wanted to incorporate some of the older songs that I released, such as “Passion Sound (Inner Beauty).” I also wanted to keep the mix alive with excitement, while maintaining some of the original arrangements of each track. This was done by keeping to the higher frequencies, and bringing instruments in and out (for instance) according to the original arrangements of each track while performing this real-time arrangement.

You recently played some of your first live shows in Europe. Tell us some stories, good and bad.

I did find myself in hotels practicing for shows with my drum machines linked together. The funny thing is that I had the “Do Not Disturb” sign up 24/7 so that the hotel would not see how much electricity I was using through power strips. All and all this was a great tour, and I wouldn’t change a thing about it. As my booking agent, Lerato Khathi from Uzuri Artist Bookings & Management, covered my butt on everything, I am proud to say, I made it home safe and learned a bit of the German language.

You’re something of a writer. Tell us about some of your influences and what your own work is like.

I did write fiction for a seven year (give or take a year) period in my life. Nonetheless, I am scheduling to write my autobiography when I am able to have a few months to myself to do so. But, after getting my undergraduate degree from Depaul in 1999, I quickly fell in love with writing. After the long writing spell, I had finished five novellas and half of a novel. I do plan to sell some of these small fictional narratives at some point.

What are you up to next?

My next European tour is scheduled for early September, and I am full of confidence about where the tour will take me. The tour is titled “What Is Noise?,” my booking agent and I are proud to announce.

• Artist: Minimono
• Title: FWD0104
• Length: 69:36 minutes (95.58 MB)
• Format: MP3 Stereo 44kHz 192Kbps (CBR)

Minimono was born in Florence in 1997 as a multimedia project that eveloved into by experimenting with different types of art; namely music installation, graphic design, and theatre performances. The collaboration between dj Fabio della Torre and the electronic producer Ennio Colaci started in 2004 with the intent of melting the musical experiences of both into fresh minimal techno productions with an oldschool house feeling.