Cheers guys!

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We were all 15 years old, and we took LSD for the first time; we went to the mountain in order to shoot a little movie’

Tara Blancato speaks to this weeks podcast artists Fabrizio Maurizi

Interview

Fabrizio Maurizi first made his name globally with releases on Minus and his own Memento Records, since going on to release on BPitch, Sleep Is Commercial and Wet Yourself Recordings. Before the Italian DJ heads over to Australia, Tara Blancato caught up with Fabrizio to talk Richie Hawtin, pastel shades and Roger Moore.

You were known as Roger on the Italian scene. Where did this name come from? No one’s calling me Roger anymore, except my close friends. It was a weird story: we were all 15 years old, and we took LSD for the first time; we went to the mountain in order to shoot a little movie. Things started (obviously) to go crazy, as soon as the substance lifted up, and everybody started to own a random character. I was James Bond, performed by Roger Moore. From that moment my name changed to Roger.

You studied piano for 10 years. How has this classical training influenced your musical style? I honestly don’t know. Probably not so much, they are such a different kind of music, and built on totally different archetypes. But I’m sure that in some unconscious ways all those melodies and scales are still in my blood.

Who was your favourite artist when you were a kid? Police, Europe, Madonna

Why did you insist on sending your demos to only Richie when you were pursuing your dream label Minus? How did people react when you first told them that was what you were going to do? There is a little misunderstanding about this point. I didn’t insist, I mean I sent my demos, and Richie got back to me. But it’s true that I sent my stuff only to him, I was really determinated about this point: I had a dream and I did my best to realize it. If you really love a women you can’t romance with another one.I remember I kept the new secret for something like six months, I was to be more than sure!
And when the preview of my first record signed with Minus was out , here in Italy was was like a revolution, everybody in the scene was astonished. Unforgettable moments.

Speaking of the label, Magda, Marke Houle and Troy Pierce have all left Minus. How is the label going now? Actually I don’t know, because I’m leaving the label as well. At least as an exclusive artist. I think it’s time to try some others experiences, challenge with different horizons but keeping in my mind and heart that Minus is/was the most amazing experience of my life so far!

You’re playing the brand new Spring Festival in Sydney.  As a veteran to the club scene, how do you feel about playing in such a different atmosphere? I just can’t wait! I’m so excited to play in such a beautiful environment, full of wild energies, surrounded by nature and the generous ocean.

Do you have any good luck charms or pre-performance rituals that you do before a set? A couple of good drinks!

The guests at Spring Festival are encouraged to wear pastel colours. Do you know what you will be wearing? Wow , I didn’t know, I usually wear black clothes. Thinking about pastel colours Iìll probably go for azure.

Your tracks have a motif of vocal samples chattering away. How do choose the works you sample? Most of the times I use my own voice or I ask friends to come down to the the studio and record something. Then I start to go crazy with efx, cut, deconstruction and so on. I have no particular preset way of work, I always start from a diffent step.

Who’s your biggest inspiration in today’s scene? Is there anyone that you would like to collaborate with? There are a lot of very good artist at the moment. I really love people like Andri, James What, Avatism, Axel Boman, Coma, Luke Hess, Inxec, No Regular Play, Gaiser. I’d love to collaborate with Billy D’Alessandro and Dyed Soundorom

What have the musical highlights of 2011 been for you? Undoubtedly all that concerns the Crosstown Rebels movement.

Can you tell us about any projects you have planned for 2012? I have so many projects running on my mind at the moment. I need to take some time to reflect and decide the way to go, it’s one of the crucial moment for an artist, the snake is changing his skin remaining itself.  One thing is sure: music always will save my life!

We speak to Jesse ahead of his Room Two set up this Saturday where he’s set to play live – an extra special performance as he reveals in this interview, he only ever brings his most expensive hardware set up to our club than any other. He’s also given us a typically killer Heartthrob track, heavy from the start this pulsating little number is just the tip of the iceberg of what to expect this Saturday. ‘Xtrafantasy’ is one of many new and unreleased tracks that will form his live set.

Hey Jesse thanks for speaking to us, how’s your summer been?
Hey! My summer has been intense, but good. The weather in Europe was pretty unsatifisying as summers go, but that’s just how it goes. I am actually happy that Autumn is approaching. I have a lot of projects to finish and don’t mind things slowing down a little.

What’s been the most exotic location you’ve played?
I had the pleasure of checking out Lima Peru for a week this August. It was winter and not so warm. I trolled the markets, picking up loads of Alpaca. I also ate all kinds of delicious things, including grilled beef heart! Normally, that’s not my favorite organ to eat, but I gave it a go and enjoyed it. I have to say Lima is a great city, with some really beautiful areas. I wouldn’t mind going back in the summer. The party people were really up for it, even going to an open air in the winter.

We’re lamenting the loss of summer in fear of the impending misery of winter – can you suggest for us some tracks to cheer us up?

Sure! Here are a few tunes and videos that come to mind…

I always watch Jan Terri’s videos on Youtube when I need a pick me up. She is very high octane and so inspirational. Journey to Mars is one of my favorites, but check them all out.

Frankie Knuckles “Bad Boy” always makes me feel real. What a classic.

Staying in that vein. Here is Hazel Dean looking amazing and serving it hot!

Ween always make me smile! This one reeks of summer sun.

A favorite from now.

A favorite from my childhood.

Do you have anywhere planned to retreat to? Some producers seem to lock themselves away or escape for some winter sun…
My family lives on Maui and I make a trip to see them every year. I plan to stay there for a few weeks and then return the the soul crushing gloom that is Berlin to irradiate myself in front of my computer and music equipment. I am hoping this winter will be mild since the summer was total shit in Berlin.

My research indicates you haven’t had a release this year, when can we next expect something? Is that because you’ve been busy touring?
It’s true. I have been more productive in the studio than I have been successful releasing music this year. But I am OK with that. Coming up, I have a twisted track in the incredible Plastkman Archives compilation and a nice remix done with Troy Pierce for Limikola. You can check it out on my Soundcloud here.

In other news,I have started DJing again. After years of only playing live, it’s exciting to play other people’s music. It’s taken a lot of work to be up to speed with that, but it’s really helped push me to make music. Studio wise, I have made some breakthroughs in the last months, which is exciting. Besides the album I have been working on for Minus, I have resurrected my Vivianne Projects alias, which will see some releases on a label I am starting soon. It’s going to have a sense of humor and be a place where I can release my more left field stuff…There is a second collaboration based label in development too. That will cover a farther spectrum of genres and be a bigger project. More like an art project. I feel like I have a clear picture of what I would like to do, which is rare. The last part of this year will be very exciting!

Pop icon Prince has been a big influence on you, is there anyone from the pop world today you find is carrying the torch for quality in pop in 2011?
I am waiting for Cher to release another record. I love her, especially very early stuff. Until that happens, Alex Boman’s tunes will do.

What inspires your lyrics in your tracks – it’s one thing being a producer but putting words together is a whole other skill set…how much is inspired by samples or your own writing?
When I write a vocal it always has some sort of humorous tone to it. I don’t have much of a singing voice unfortunately, but I try anyway. My lyrics are more like nasty blurbs-stuff to make me laugh and bring a sexual funk element to the song. Old tracks from Chicago and Detroit inspire me. Here is one of my old favorites. It’s not family friendly.

And finally, you’re playing live in our disco this weekend – can you fill us in on what to expect and what’s involved in your live show set up?
I always bring more hardware when I play at fabric. It’s the perfect situation to bring a more free style jam approach to the show. I imagine I will have a SH-101, Monomachine, Machine drum, NI Maschine, Eventide Space and a Microphone… I have lots of new music to play. Should be pretty raw.

After growing up in Washington DC on a balanced diet of Acid House, Go-Go and Punk, his active involvement in the electronic scene began in New York in 2002, producing a series of memorable parties for Creative Time in the base of the Brooklyn Bridge. Fusing house and techno with experimental multimedia and urban installations, Kevin was quick to recognise connecting patterns of value between these art forms, with temporal, physical, spatial and minimal elements among the most obvious common denominators. If one person embodied these principles through music it was Richie Hawtin. The pair were soon working together, co-producing the Plastikman show at Mutek in 2004. The planning process meant spending the best part of a year in Berlin during which time Kevin assimilated into the scene. Energized, he returned to New York and besides co-presenting the Nerd Tank on East Village Radio, he began working on his own compositions, which quickly led to a debut release on Camea’s Clink label in 2006. His event organising activities also intensified, buoyed by the network of DJs and producers he’d met in Berlin.

It was after one particularly intense party, that Kevin set to work on a new track. Extreme images from the event were still flickering across his mind as he picked up his studio mic and, in a flash of inspiration, laid down a twisted, one-sided conversation in a single take. He passed the resulting track to Troy thinking it was just a bit of fun, a tongue-in-cheek parody for his friends to play. Within days Richie was telling him – the track was blowing up, the dancefloor reaction to R U OK was unbelievable. What followed was beyond his wildest imaginings as the track went global, topping charts around the world aided by Ali Demirel’s tripped-out video interpretation. By 2008, the gravitational pull had become too strong to ignore and he returned to Berlin, hooking up with the Minus community and embarking on a non-stop schedule of live shows and DJ gigs. 2009 also saw him join the line-up for the London Contakt special as well as the release of several remixes, a JPLS collaboration and his own follow up EP is 5.

2010 holds even more promise for Kevin, with back-to-back releases. Rumors shows another quirky wordplay, voiced by a character twisted in knots trying to learn the meaning of all the gossip floating around. His second release of the year comes on strong with a dancefloor bouncer Down accompanied by an aggressive vocal challenge. With a DJ mix and an album in the works, it’s already becoming more interesting by the day.

Ambivalent by name, ambivalent by nature, Kevin McHugh insists we shouldn’t read too much into his ideas, but as long as he continues making such bold musical statements, that stimulate the instinct and intellect in equal measures, he’ll just have to get used to the attention.

(from M_nus)

As well as that he has a number of new production projects on the horizon as well as a new white label imprint. Read all about it in the interview coming later this week, but first delve into his bleak and abstract digital world for an enjoyable view across his trusty techno landscapes….

At this point, Richie Hawtin doesn’t really require a whole lot of introduction. Simply put, he’s a techno giant. Born in the UK, reared in Canada, and currently residing in Berlin, the man has been pushing techno forward since the early ’90s, most notably as an artist, but also as the head of the Plus 8 and Minus labels. This week, he’ll be performing a live set as Plastikman as part of the MUTEK festival’s Nocturne 03 event, so the timing was perfect for Hawtin to put together this exclusive mix, entitled Richie Hawtin @ Bermuda (Plastikman’s Bermuda Triangle interpretation). We’ll let him explain the concept in his own words:

One of the most common questions over the years has been what is the difference between Richie Hawtin and Plastikman. My most common answer is that Richie Hawtin is, or has become, the extrovert on stage, playing, performing, and partying with/for the audience, while Plastikman has remained connected to my more introverted side. A side that feels more comfortable locked away with my machine or hiding behind a curtain of technology, creating my own unique and personal take on electronic music. For this podcast, I decided to experiment with the idea of how one of my personas would interpret the other: What would happen if Hawtin met Plastikman, or visa versa. So here, you will find a reinterpretation of a live Hawtin DJ set recorded at the Bermuda festival on November 6, 2010. Cut up, slowed down, shifted, and time-displaced to take the feel and experience of Hawtin into the realm of Plastikman.

Those who can’t make it to Montreal this week should know that Hawtin will also be performing as Plastikman at Amnesia Ibiza this August and at New York’s Electric Zoo festival in September. In the meantime, dig in to this exclusive mix.

Well….where to start with a character, label boss and figurehead such as the irreplaceable Josh Wink. Still going strong after decades at the forefront of dance music, his successful OVUMlabel (established in 1994), which houses the likes of newcomers such as M A N I K and stalwarts such as Nic Faniculli, Shlomi Aber and many more. In fact, Josh is a mentor in the world of dance music, using his expertise and knowledge to facilitate the broad history of dance music – old and new.

From his cut ‘Liquid Summer’ in 1994 to releasing tunes for R&S and XL Recordings, the US don really  blew to stratospheric proportions in 1995 with hits ‘Don’t Laugh’ and ‘A Higher State of Consciousness’, and has since never lost his integrity or vision.

He constantly releases tunes and graces the world’s hottest nightspots with his famously demanding sets, whilst at the same time running Ovum, hosting a radio show every Thursday on Sirius XM Radio in the US, and will be playing London based festival The South West Four Weekender in a special summer performance.  Ladies and Gentleman, DT is proud to present Josh as the latest hero to helm our weekly podcast

Sum up this podcast in 10 words…
Live mix from SCHON SCHÖN, in Hagen, Germany from April 2.2011

What’s your personal favourite track on it?
Dig the whole mix, as it was a crazy night.

What’s the special ingredient in this mix?
The vibe I got from the crowd I was playing for.

What’s the best gig you’ve played recently?
Just did a tour in Holland two weeks ago. Each gig was amazing! 3 gigs, 3 cities, 3 days. Super fun!

What have you got coming up?
Lots of great things on Ovum Recordings, new artist LP’s from M A N I K, Remix LP from Shlomi Aber, and new single releases! Along with spring/summer tour dates, of course the return to South West Four where i’ll be playing the Cocoon arena alongside Sven Vath and Loco Dice and a new joshwink.com website launch!

And finally, do you have a special message for our readers?
Enjoy the live mix.

The veteran Italian techno jock records his first podcast.

Marco Carola is quite simply one of the biggest in the business. The Neapolitan selector was there from the very beginning of Italy’s love affair with techno, helping to kick-start the scene through extensive DJing, production and party promotion in his hometown. His message throughout the late-’90s/early-’00s was spread via a number of successful labels he founded—Zenit, One Thousand, Question—although the ascent towards his currently enjoyed level of fame seemed to begin around 2006/07 with the release of his excellent fabric mix and association with Minus/Plus 8. By this time Carola had quite drastically altered his approach from the frantic three-deck mixing style he previously employed, instead concentrating on stripping things down in search of the ultimate groove. However you look at this transitionary period, it most certainly worked for him: Carola now enjoys one of the busiest touring schedules on the circuit, regularly given top billing for some of the largest scale techno events in the world.

Carola’s dedication to the rhythmic exploration is certainly apparent on his RA mix, although as he explains below, he allows a little more warmth and a lot more breathing room then you might ordinarily expect from hearing him pack a dancefloor.

What have you been up to recently?

I’ve been on my album release world tour, which started at home in Napoli in February. I’ve just finished some of the South American dates and a party at SXSW with Richie—and am currently in LA getting ready for the Miami parties this week.

How and where was the mix recorded?

I recorded it in my studio at home in Napoli using Traktor Scratch—that’s what I use when I play out now, with two decks and the C-Loops machine to make longer mixes. I get asked a lot about the three-deck style I started out with for many years, but I eventually found that there was too much thinking about the technical side. The way I play now means I can think more about the music and where the set is going.

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

I recently did the BBC Essential Mix at the time of the album release in February. I was really pleased with how that turned out, but as that was a two-hour club-style set, I wanted to do something that was a little more relaxed for this. I recorded it during a short break in the tour dates a couple of weeks ago—I try to always play new tracks in my sets, so these are ones I was into at that time.

You’re credited as helping to kick-start the Italian techno scene during the ’90s. How would you assess the scene in 2011?

Back when I started, Napoli was really the only real techno scene in Italy. Rome had a scene, but that was more of a rave style. You could say that in the beginning it was perhaps more contained, but now it’s opened up and there are great parties put on by amazing people around the whole country. I think it’s great, I always love to play in Italy—Italian crowds have so much energy, so if you play well they really love you.

Do you see your particular brand of techno as being divisive? Certainly online it seems to evoke very strong reactions for and against it.

Well one of the best things about techno is that the people are so passionate about it. Perhaps sometimes some people forget that the purpose of it is to have fun and to dance, though. There’s room for all kinds of styles—my style is not going to be loved by everybody, but that’s OK because I’m just expressing who I am, what I like to play and hear in the club. My music is quite specific, it’s made to be played by DJs in clubs—pretty much everything on the album was tested this way so I could see what was successful and what I needed to work on some more. And the reason the album comes as a mix is that it makes more sense for the music to be heard played as part of a DJ set than individual tracks.

That’s why I called the album Play It Loud!, because without that context of being played by a DJ it’s not going to make sense. My music is about the groove, the bassline—if you can’t feel that, if you listen to it on some laptop speakers with no bass, you’re not going to get it! So it’s great for people to have those strong reactions and to be passionate—just don’t forget to have fun!

What are you up to next?

The album tour continues with more European dates from the beginning of April. There are the festivals like Timewarp and Exit, and of course there will be Ibiza too which I am always excited to do. And after the tour hopefully some new EPs on 2M later this year.

Whilst we’re more than onboard for jokes and banter there’s no amount of appropriate humour that can detract from the allure of the brooding and dark tones contained in Black’s mix to promote the imminent Wagon Repair takeover of Room One on Saturday.

Hey Todd, how’re you?
Fantastic. Couldn’t be better. Hopped up on goofballs.

You’re one of the founders of Wagon Repair – what’s your role in the label?
My role is a many faceted one. Marshall of Gnar for starters. I am also chief resident somnambulist as well as, of no lesser importance, Keeper of the Sacred Puck.

If you were going to introduce someone to the label’s sound – which releases would you chose to do this with?
Start at 1 and count backwards!

What can we look forward to hearing in 2011 on Wagon Repair?
We’re taking it back to the streets…

Coming soon! It’s time for Konny and the rest of the Regulators to get back on the saddle. We’re doing a series of vinyl exclusive releases by the OG’s, Mathew Jonson, Mike Shannon, The Mole, Tyger Dhula, myself and more…
Plus…an excellent new album as well coming soon from a dear friend of mine, Bea, (of Dollz at Play fame) together with her studio partner Beatmaster G, under the name Class B Band. The Album will be out March 28with a video coming in early March. Also we have an album by a group called Blue Fields which is a band put together by one of our cohorts, Mr. Michael Shannon from Cynosure. That will be out around May/ June with a few videos to boot.
Then, also slated for May/ June, comes the Wagon Repair Allstars compilation…a who’s who of heavy hitters taking the sauce to a new level.

You’ve not released yourself since 2006, why’s that? And can we look forward to some more Konrad Black productions in the future?
Bad case of the old tour bus blues I guess…to battle them I decided to head south. I was warming up to some southern comfort preparing myself for inspiration’s deadly strike when encountered a trio of tribes having their annual general meeting. I then headed back North. I didn’t even realize how long I’d been gone… out there… riding.

Now that I am back, inspiration at my side… I have been working on a project with Jeremy Shaw from Circlesquare called Headgear over the last few months as well as a couple other lab experiments with fellow co conspirators. Just steady percolatin’ basically.

You’ve said in the past you do your own artwork, can you tell us a bit more about this?
One time my parents made me go to Sunday school…. it was a horrible experience… talk about a bad case of the heebeegeebees. I do recall, however, a project they made me do, me and all the other poor Rod’s and Tod’s locked in for the afternoon. It was to carve a Noah’s Ark out of soap. I thought to myself “now hang on a minute, that’s right up my alley.” Of course, in conversation, my brain didn’t quite say to me “alley” as either of us hadn’t quite spent any time in one yet, but both my brain and I were excited by the fact that we could play with knives and that Jesus said it’s OK. Thus began my carving career. Thank you Jesus!

As a self-confessed analogue lover, what are your favourite bits of equipment in your studio?
Yes..alas…I ran away from my digital rehab yet again. My favorite bits are the ones that make me shake. I have a “you show me yours and I’ll show you mine” policy when it comes to showing ones bits…any takers?

Have you been taking notice of NAMM this year – any particular bits of gear tickled your fancy to go with your Traktor DJ set up or in the studio?
I haven’t got my nerdface on quite as hard this year so I’m not sure what happened at NAMM. However, having said that, I am intrigued by the new Lynn Smith drum machine that has been taking forever to come out…she makes the hotness when it comes to things that go boom.

Well, in Canada NAMM isn’t such a big thing as it is in the States…we just had a lot of draft dodgers come up from California. I wonder if that’s where the LA Dodgers got there name? Holy shit…I bet it is.

What gems can we expect out of your record bag for Wagon Repair at fabric?
Definitely not cubic zirconia, that’s for sure. Bombs awaaaaay!

For more info and tickets go here.

The Canadian producer offers up his live set from Labyrinth festival 2010.

Mathew Jonson’s substantial contribution to electronic music this past decade should be evident to anyone who has ever caught his live show. His pool of original material is teaming with prodigious 12-inches, released chiefly via his own Wagon Repair imprint, while tracks like “Marionette” and “Decompression” are rightly considered as techno classics. You may recognize much of what Jonson plays during performances in clubs and festivals around the world, but it will no doubt have been expertly reconfigured, right there and then on the fly. This virtuosity at the helm of hardware carries over to Cobblestone Jazz, the live electronic improv group Jonson formed with friends Tyger Dhula and Danuel Tate back in 2002. The group has since released a pair of albums–23 Seconds and The Modern Deep Left Quartet–while Jonson explored the format solo in 2010 through the warmly received Agents of Time.

Jonson’s podcast for us captures the producer in his full majestic flow. The set was recorded at Labyrinth festival 2010 in Japan, and finds Jonson maneuvering among a substantial array of gear for what is undoubtedly one of his favourite places to play.

What have you been up to recently?

I have been spending a lot of time on my label, Wagon Repair, this year. I also just purchased the rights to Spencer Drennan’s Itiswhatitis Recordings and so have been re-mastering the catalog, getting it ready to release in the New Year. Itiswhatitis was the start for Cobblestone Jazz, Hrdvsion and myself. It seems only right to keep the music where it started rather than re-release it on Wagon Repair or elsewhere. Wagon Repair is catching speed again with some nice singles coming soon as well as an all-stars compilation we are putting together.

How and where was the mix recorded?

The mix was recorded live at the Labyrinth festival, about four hours north of Tokyo up in the mountains. I played live on the last day of the festival right before Donato Dozzy took over to rock it till the end. He is a great DJ and friend so it felt awesome for us both to be up there together again! I love sound systems that make you feel like you’re swimming in bass, and this is was the biggest Funktion One system that I have ever seen. Russ doesn’t fuck around!

What is your preferred live set-up?

There is actually a picture on the Labyrinth feature that RA did here. I was using two SH-101s, a 909 and 808, an Elektron Machinedrum, a Midas V320, Yamaha and Eventide effects and some MIDI controllers for the computer. Usually I only have one SH-101 but they had a spare for me at the festival so it was better than usual! It’s also the reason why you hear so many new synth parts being played like in the beginning of “Symphony for the Apocalypse.” (Hopefully it’s not too busy.)

Can you tell us a bit more about your experiences of Labyrinth this year?

I always stay for the whole weekend. It’s in a really beautiful location, the people are really sweet and the music is always killer! In the previous location, the artists stayed in an Onsen hotel and this year it was a nice ski hotel close to the springs. It was hard to decide when to sleep, though, as I really didn’t want to miss anyone’s set. Everyone played amazingly well. For me I think A Guy Called Gerald was what really turned me on my head—his set was bad ass! Super wide frequency range and so much funk in the basslines… the man is talented! Dancing to Scuba with my girlfriend totally wasted the first night was super fun too. Function, Dozzy etc, etc… I could go on and on about how good it was there.

What are you up to next?

Been writing a lot these days, getting ready for the festival shows this coming summer. I don’t want to go into it too much yet but for the first time I will be working with more of a stage show, but I’m (as
always) putting focus on the music and want to make this new show something really special. Actually, you can hear some of the new stuff I have been writing in this set. I plan to have it so there is 80 or 90% new music and all played differently so spending the majority of my spare time in the studio right now. Other than that, my band Cobblestone Jazz will tour in India again, following that we will go to my house in Goa together to write some new music in that environment. Don’t worry—it’s not going to be Goa Trance. It might have some bird noises leaking through the mics, though, as we are going to try and set up in my backyard and do it all outside!

We absolutely loved you set last time you visited the club, what in terms of music have you planned for us this time around?

Firstly I want to say thank you for my first appearance at WYS!, it was a great night!
fabric is a one the best clubs in the world, and WYS! is an awesome and special night, so naturally I do give some forethought to my set, not prepared as such, but ready. When you start your performance everything can change because the mood and the relationship with the people in that particular moment in that particular place is something impossible to plan.

Our NYD party has an Alice In Wonderland Vs Star Wars theme, what are you dressing up as?

The Mad Hatter is my favourite…

You will be DJing with Traktor? Explain how your DJing has changed since going from analogue to digital. What are the benefits?

In my humble opinion, the feeling is absolutely the same, the love is the same, the passion is the same. I remember going to the club with a record bag and now I go with a laptop and some devices: that’s the difference! Though, there are some things that now I can do with Traktor and turntables that i couldn’t do before just with records, there are loop and effects that allow me to create different mixtures and also dramatic points in my set but I still always try to respect the original soul of the track I’m playing. Another point is that I can’t abandon the turntables, I just can’t…I can’t get in the mood without them. That’s probably why from analogue to digital was not a big change for me…. turntables are the “liason”.

Tell us a little about your production. What is the master plan for 2011? Anything set in stone that we can look forward to?

I’m taking a little break right now in order to clean my mind and to collect my thoughts. I released my mini-album on m_nus a couple of month ago, I just finished a remix for Mean rec that is out now and I delivered a remix to the Princess Ellen Allien for BPC (pretty proud of it!)…There’s also a Plastikman remix and a free track for Burn Studios. At the moment I’m trying something different in the studio, but with no rush or plan, something more romantic and organic. So we’ll see what that brings. Another wish for 2011 is to do some music with friends I have around the world..I’ve never one this before, and it’s bit strange for a techno producer.

How do you name your tracks?

Its a Secret!!…Joking aside, I just try to find a name that sounds lovely to me before start a track, then, if it fits with the track, OK, if not then I work on the name considering some particular sounds or voices of the track.

Whats it like working with M_nus?

It is a incomparable experience and opportunity that I have to deserve day by day.

Looking back at 2010, what was your favourite place to play and party?

ADE was great this year and I love Club 178 (it’s an amazing small club in Sanremo-Italy)

You began DJing in Bologna, what skills do you think you pick up playing to an Italian crowd? How does it compare to the rest of the world?

Well, Bologna is a bit different from the rest of Italy it has always been musically forward, because of the university it is a melting pot of artists and inspired young people. In general terms I wouldn’t compare Italy to the rest of the world, there are some awesome clubs and parties like in other countries, but some not so great parties too.

Do you remember you first ever DJ gig? When, where and how was it?

Yep! Absolutely. It was in Bologna, in a club called Cassero (it’s still the best club in town). It was a great night, and when I finished my set I was immediately invited to play at one of the best after hours parties (it became legendary) near Bologna…everything started from there…

What is you favourite chill out album at the moment?

Actually I don’t have a favourite chill out album, but if I really want to chill at the moment I listen to A Tribe Called Quest. Their hip hop is so beautiful, organic, minimalistic and warm at the same time, really inspiring.

What music/bands did you grow up listening to?

Orb, Orbital, Kraftwerk, Leftfield, Chemical Brothers, Sphongle, The Police, Madonna, Rage Against The Machine, Bjork, Keith Jarret, Jonh Coltrane, Jean Michelle Jarre, Shirley Bassey, Public Enemy, Dr. Dre and all his crew, Erikah Badu, Cypress Hill, A Tribe Called Quest, Tupac, Pink Floyd, Massive Attack.

Who and what shaped you musically?

I fell in love with dance music pretty quickly, so I can surely say that techno music shaped me the most and from the beginning of the 90′s I studied in depth. It’s necessary to start from the roots to then understand all the different variations. Even psychadelic trance gave me a lot of ideas and tips in the past, the use of sudden sounds, the hypnosis of loops in the terms of psychoacoustics and a certain use of synths in an extra-terrestrial way. Then, my first contact with minimal techno was love at first sight with the typical sounds of first generation techno that got stripped down to the bone and could co-habit with rythmic patterns in glitch form.When you put all of this together you would obtain that typical trippy and mental form of minimal techno. Needless to say that the work of Plastikman left its’ mark and opened new frontiers.

I can also not forget about the 10 years i studied classical piano, which influences the stature of my tracks. Also my still ongoing love for hip hop and jazz always brings me back to funky and melancholic atmosphere’s. In any case, each and every different form of art can influence me, but I think this counts for all of us, especially visual arts and modern architecture; it’s hard to experience a great piece of art and not have the immediate necessity to translate it into music.

For more information and tickets go here.

One of the first acts on the renowned German electronic label M-nus, Niederflur have been making experimental and uncompromising electronica for over eight years, often deep and hypnotic, but always fascinating and with an underlying warmth and undeniable groove.

The duo’s mix takes in a range of techno moods to stimulate the brain but keep the body moving at the same time, ranging from minimal click-back to blissed-out tech-house to jumpy, jackin’-influenced Chicago sounds, from the likes of Shed, Terrence Fixmer, Mike Dehnert and Jonas Kopp.

The perfect intelligent and innovative antidote to the relentless uber-cheer that adorns the usual slew of festive tunes and new year cheese classics. Enjoy your new year with some bite, for a change, courtesy of Niederflur.

Two of Minus’ key members chat at length about their history and their new albums.

Over the past ten years, few techno labels have drawn as much attention as M-nus, the Berlin-based crew of expatriates led by DJ and producer Richie Hawtin. Among the label’s most well-known members are Magda and Marc Houle. From their teenage years playing parties in Detroit, to their stadium-sized gigs during 2008’s Contakt tour, these two artists helped define the lean and punchy sound that came to be known as minimal. Both are currently on the road together promoting new albums. Houle’s Drift features lengthy guitar-centric techno experiments, while Magda’s From the Fallen Page translates her fascination with horror soundtracks into the same framework. The day before they shipped out this fall, RA’s Will Lynch talked the duo about video games, Communist Poland and why it’s sometimes uncool to be Magda and Marc Houle.

From Moritz von Oswald to SCSI-9, the two lads take us on a journey of what electronic music has best to offer. If just like us you were starting to get tired of all this « minimal techno » trend, this will be the miracle cure you’ve been waiting for. It’s easy to see that Niederflur didn’t do this mix lightly, so that they have clearly made one of the best episodes of our podcast series thanks to their indisputable science of breaks and progression and their talent to combine new stuff along with old school gems.

Plastikman has been a large source of inspiration for me throughout my production carreer. When I try describe it to others, I fall short of words. Many times I have experienced this music in a way that is anything but ordinary. The tracks seem to evolve as if living … much like the name they all are very malleable in my mind.

This mix is a short representation of how I remember certain moments of experiencing Plastikman. All tracks used are normally much faster and higher pitched. Instead, I have chose to play them all at 90bpm to open up all of the dark and strange spaces from in between.

JPLS

Time has accelerated ten-fold for Konrad over the last five years since the dark, shadowy tones of “Draconia” & “Medusa Smile” enveloped dancefloors around the Globe, christening his influencial Wagon Repair label in style as well as establishing him as a highly innovative producer and much sought after remixer (just check out his work for Tiga, Snax, Audion and Martini Brös if further proof is required).

His relocation to Berlin 5 years ago also gave him the opportunity to express himself more regularly as a DJ, resulting in a fast expanding reputation for sending crowds into a frenzy wherever the call of duty takes him. Konrad knows it’s about living and breathing the music, it’s not just a question of turning up, spinning a few tunes and then disappearing back into the night, it’s about getting to know the people, understanding what makes the club tick and always delivering a night of memorable tracks and seamless transgressions. He quickly found himself holding down one of the much coveted residencies at the Legendary Panorama Bar as well as regular spots at dance musics epicenters; Fabric in London, Rex in Paris, Tenax in Florence, Privilege in Ibiza to name a few…

After 5 years of a hectic touring schedule, Konrad relocated to Los Angeles and teamed up with fellow producer Martin Buttrich to record a yet unreleased album. For Konrad the aim was to remove himself from the day to day influence of the dance scene in Berlin and “clear the sonic palette” by relocating to a place whose palette couldn’t be further from that of techno’s mecca of Berlin. “We wanted to be as far from the scene’s influence as we could be; Away from any outside musical influence. Berlin is full of musicians of the electronic variety so we decided to do the album in L.A. in the winter time…and I’m happy we did! “It was nice to be back in that west coast laid back way of life…one that I actually missed…which I never thought that I would. “One that couldn’t be further literally and figuratively from the 24/7 Techno of Berlin.”

In hindsight, Vancouver’s laid back way of life was the perfect environment to patiently prepare for the whirlwind his life has now become. Free from the restraining influences of established scenes and trends, Konrad was able to develop his own individual take on dance music under the guidance of Patti Schmidt’s Brave New Waves late night radio show. Digging through the junk bins in Vancouver’s coolest record stores – Basics & Odyssey Imports – also unearthed hidden gems from artists like Tikiman and Maurizio, along with early Klang and Perlon releases that had been shamefully overlooked by the uninitiated.

Although his initial instincts had led him in a Drum and Bass direction, it wasn’t long before he began transplanting his ideas into a 4/4 context. Hooking up with Swayzak in 1998 had a large part to do with this and led to a string of releases on 240 Volts including the Busting Down The Door With A Shotgun EP and the inspired Swayzak / Headgear collaboration on In The Car Crash in 2002. During this period Konrad also relocated to London, producing both Drum and Bass for Ed Rush and Optical’s Virus Recordings, and Techno (together with March 21st) as Headgear including a remix of In A State for James Lavelle’s U.N.K.L.E. project.

On returning home, Konrad finally met up with fellow Vancouverite Mathew Jonson who was already having massive success producing on the much lauded It Is What It Is label. Together with Graham Boothby and Jesse Fisk they founded Wagon Repair, basically “to do whatever the hell we wanted to do’’ and in a relatively short space of time it’s developed into one of the most respected labels around. Konrad’s own approach to music basically sums up their original mandate – “It’s important to let music mature and resonate. It’s important to know who you are and to embrace the things that drive you forward even if they seem strange to others’’.

…like dreaming darkly on a sunny day. There’s certainly a Byronesque quality to Black, a perpetual struggle between external light and inner darkness that unearths moments of beauty in the darkest corners of our collective consciousness. But fortune seems to favour the brave and it’s with this firmly in mind that he leads the crowd through the night towards another Berlin sunrise.

Available now – “Bipolar Remixes Pt. 1” has Jonas Kopp, Stefny & Pheek plus their alter-ego Datasoul contributing their own versions. We’re giving up the Raudive remix right here for free!

About Marc Houle

As the Minus crew roll up in Frankfurt for another night of minimal pressure, Marc Houle cuts a rather unassuming figure. While the others are going through the hotel check-in process for the umpteenth time he stands alone, detached from the crowd, seemingly preoccupied by the recurring patterns of glass paneling that jar upwards into infinity from the giant reception area.

It’s exactly this quiet, analytical approach to the x and y of time and space that forms the nucleus of his music. The warm analogue sounds from his beloved Korg Monopoly are encased in a cold logic that’s all about clean edges and perfect angles. Listening to 2004′s Restore double pack, it’s fascinating to hear how he explores each new idea, unravelling it like some complex equation, entertaining variations and digressions before arriving at its natural conclusion. It gives his music a sense of symmetry and as the varying lengths of his work testify, he doesn’t waste time saturating his music with unnecessary layers once the magic formula has been discovered.

Anyone who caught 2005′s Minimize to Maximize tour would agree his music is equally impressive live, as it’s this medium that allows the human element behind his machinist persona to really break through. Some artists are confined by technology and the sonic boundaries they set themselves, possibly because it was music that introduced them to computers. Marc’s journey however, took him in the opposite direction allowing him both the freedom and control to lose himself and his appreciative audience in a labyrinth of sound – constantly improvising, always innovating – before triumphantly emerging intact.

Currently sharing his time between New York and Berlin depending on tour commitments, Marc grew up in Windsor just across the waters of Lake Erie from Detroit. He was and still is a first generation computer game addict. Hooked on his Commodore 64 and a host of early video games such as Arcon and Jump Man, he was mainlining Atari straight into his cerebral cortex from the tender age of ten. The theoretical side of his musical education arrived through piano and drum lessons, complimenting the bleeps, clonks and whirrs of the laser gun battles he fought on a daily basis. As a precursor to the minimal techno that would later envelop his life, it was the primitive square waves of the game soundtracks that really moulded his taste in music and as Casio hardware started evolving into real keyboards, Marc was on hand to exploit this new era of sound exploration.

Needless to say, European electro-pioneers like Kraftwerk and Depeche Mode had a strong influence on him during these formative years and as his studio grew, Marc started developing his own particular brand of synth-pop by appropriating the old commodore game sounds into his productions. Things began to take shape in the early nineties when, still largely oblivious to the techno-revolution taking place in Detroit, he started heading over to warehouse parties like Sickness and Recovery. After soaking up the vibes under the expert guidance of Jeff Mills, Richie Hawtin, John Aquaviva et al, he would return home, applying these new found ideas to his sound which, in turn, began to evolve in a hyper, distorted ‘Aphex Twin’ direction. During one of these excursions he got talking to Hawtin, bombarding him with questions about a Kraftwerk gig the latter had been lucky enough to witness. This shared passion for all things electronic soon led to a DJ residency at Hawtin’s 13 Below in 1997, hosting a New Wave/Atari night where clubbers could get off on vintage game consoles while Marc pumped out a mixture of Electro Boogie and New Wave, inducing 1983 style flashbacks.

Then one night Magda turned up as a guest DJ and to cut a long story short soon ended up lodging with Marc back in Windsor. Neither realised the significance of this arrangement at the time, they were too busy joking around and bouncing ideas off each other in Marc’s studio, however this initial chemistry clearly set the wheels of their music careers in motion, paving the way for their current assault on the minimal techno scene.

Magda shakes her head in mock disbelief as she recalls how Marc wired speakers through the entire house so music was constantly playing in every room, how his studio was painted red with white clouds and how his obsession with Rembrandt’s ‘Man in a gold helmet’ reached the point where the walls were adorned with every possible shape, size and variation of this singular image in other words, it was her kind of pad. Soulmates, they started messing around with music although Magda was less than impressed with the giant synth riffs Marc often punctuated his productions with, forcing him to make two versions – one with, to satisfy his New Wave aspirations and one without that she could use in her DJ sets. These stripped down versions were of course bang on the money and started generating positive reactions and interest, not least from Mr Hawtin who was now beginning to hear the tantalizing results of this growing band of pranksters he had inadvertently brought together. Two became three in 2001 when Marc (Restore) and Magda (Stop) met Troy Pierce (Run) and the circle was complete, culminating in the ‘minimal new wave’ project Run Stop Restore and a 4 track EP on Minus in 2003.

Currently rubbing shoulders with an elite group of electronic producers on Richie Hawtin’s latest DE9 instalment, he also remains faithful to the retro-sounds that first inspired him to start producing. Apart from his work for Minus, his insatiable output means he is involved with several other bands such as the new wave project La Folie and the cold wave outfits Raid on Moscow and 2VM.

So how does he actually define his sound, considering the broad spectrum from which he draws inspiration? Marc of course replies in equation form: Detroit + New Wave + Kraftwerk + Commodore + Iron Maiden (!) before descending into a passionate debate with Troy about the qualities of Maiden’s melodic structures. It’s an unexpected turn to the conversation, delivered with typical deadpan humour. Nevertheless it goes a long way to prove that behind the elegant sonic structures Marc Houle creates those robot grooves with their clean edges and perfect angles – there is still space for a little madness in his method.

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.

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.

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.

To celebrate the release, the duo has whipped up a moody techno mix for us with cuts from Surgeon, Speedy J and Donnacha Costello.

Cassy (real name Catherine Britton) was born in Kingston Upon-Thames, England to a Caribbean father and an Austrian mother. She moved to Austria as a child and then back to England as a young adult, performing stints as a singer and actress.

While living in Austria, Cassy was exposed to a diverse, high-quality electronic music scene, which offered everything from trance and techno to the eclectic sounds of artists like Kruder and Dorfmeister. This exposure spawned Cassy’s passion for electronic music and eventually led her to begin a career as a DJ and producer.

In 2003, Cassy moved to Berlin and proceeded to build a reputation as a talented house and minimal DJ. Among other accomplishments, she secured a residency at Panoramabar and had the honor of mixing the first Panoramabar compilation.

She has collaborated with artists like Steve Bug, Ricardo Villalobos, Luciano, DJ Elin (aka Autorepeat), Dave the Hustler, Mathew Jonson, and Swayzak. Her tracks and remixes have been released on labels like M_nus, Playhouse, Get Physical, Perlon, Dessous, and Mental Groove.

She has also started the label “Cassy”, where she has currently released two records, to serve as a vehicle for releasing her own music. While Cassy has achieved much as an electronic music DJ and producer, her achievements alone do not reveal the depth of her artistry.

Cassy has a mystique that tends to captivate and intrigue the attentive listener or observer. When playing a set, she exudes an aura of serenity and passion for what she’s doing. Her mystique is due in part to her unique and diverse set of cultural and musical influences. She has lived in different countries and drawn inspiration from a wide array of musical sources.

Elephant Pixel: -The set contains songs of all my different Indie/IDM projects: elephant pixel, monotax, swave, and some remixes as well. i thought it could be cool to have a set that shows the different colors of my sound palette.

DJL: -What about the present and future of this three different versions of Dilo?

EP: -I am currently finishing a new Elephant Pixel which is going to be released on a label from San Francisco (USA). Seph and Sebastian Cohen will be guest in 2 tracks, and some remixers included in the album are N.E. Stofenmacher, Doubtingthomas & Cullen Miller.
Monotax (the band i have with Imi and Pablo Heredia) just finished a double album for the danish label Lo Mid High Unlmtd, which is going to feature remixes by Console (aka Acid Pauli & member of The Notwist),Mujuice and Fase. At last, i recently finished an album by Swave (Wich is basically N.E. Stofenmacher & me) and we are currently looking for a label.

DJL: -Your album debut as Dilo had a great feedback both from colleagues, dedicated press and audience, I’d like to know the feelings you had regarding Waheira and his reception.

EP: -I am very glad with the album and the feedback by the press, friends, etc; makes me very happy. I worked very hard on it, almost for 2 years…..so its nice to have this feeling like i did a good job! beside this, i’m also glad about the musical results, was fun to do it!

DJL: -Which are your future plans as Dilo?

EP: -I am currently working on new tracks and on remixes for Lega, Mekas & Pablo Denegri, and Egon Orange. Theres also a new EP of Dilo vs Gurtz coming soon, on the label Klectik from Chicago (USA).

DJL: -Tell our readers what’s Cascabel Gentz about.

EP: -Cascabel Gentz is a very special project for me, we did it with my L.A. based friend [a]pendics.shuffle a year and a half ago. We knew each other a bit (since i did releases for his label Adjunct) and then after playing together in Los Angeles we became good friends and started doing music, after making some tracks we got very excited and decided to give a name for this new project.
We already did releases for Einmaleins Musik and We are and we got some nice feedback, now we have coming up 2 new EP’s (“Vaquero” and “The Precious High”) on the german label Trapez.

DJL: -Tell us about your tour’s for this year.

EP: -I’ll be doing a Cascabel Gentz & Dilo USA tour in March where im playing at Miami and Los Angeles for example, and heading to Berlin on May to stay there 4 months and play around Europe.

Mauricio Barembuem (aka Barem) is one of the new emerging talents of Latin American techno. Barem’s productions are based on a characteristic groove made up of synthetic samples, analogue elements and hypnotic basslines, although like most Latin American artists he never misses the chance to integrate rhythmic flourishes. This MUTEK 2008 performance marked the Canadian debut for Barem.

The third and final week of our Autumn techno onslaught comes from one of Minus’ most talented signings of the last few years – New York’s groovy mofo Ambivalent. “We met when I was organising parties under the Brooklyn Bridge” he recently told us off his and Minus boss Richie Hawtin’s first meeting. “Later on I worked for him. Over time I would occasionally give him some music. I was releasing tracks with my friends on Clink, and then Troy gave a copy of R U OK to Rich. The next day he asked me to release it with Minus.”

Hawtin’s keen ear for talent and hastiness to sign Ambivalent’s music didn’t let him down, with his productions and DJ sets quickly winning him fans across the world and allowing him to be accepted into their burgeoning family with ease. This podcast sums up everything we love about him – sexy, jacking, stripped-back techno with a hell of a groove, some enticing builds, dashes of weirdness, and a surprise ending.