Why is someone that has a spaceship to save humanity saving me? I make dance music and dumb jokes

Troy talks about the end of the world to Jenna Roberts.

Swiss beats.

Deetron: A name you can depend on. The Swiss DJ and producer has been in the house and techno scene since the mid-’90s, and he seemingly hasn’t put a foot wrong at any point. Whether it be his exceptional three-deck mixing or his elegant productions for label home base Music Man, Sam Geiser is the definition of consistent. Of late, however, Deetron has been outdoing himself a bit. Last year’sStarblazer single for Rejected was one of the most charted tracks of 2011 on Resident Advisor, while his two-disc mix for Balance showed that he’s just as comfortable mixing digital as he is analogue.

Deetron describes RA.312 as “relentless,” and we’re inclined to agree with him. It’s more than 70 minutes of bangers, new and old, fit together by one of the world’s foremost jocks.

What have you been up to recently?

I’ve been touring on the weekends while catching up with my job as a houseman during the week. Apart from that I tried to make use of every free minute to work in the studio. I’ve got a new single coming up for Music Man with Andy Butler from Hercules & Love Affair on vocals, which should finally be released in June as we’re still waiting for the last remix. Other than that I’ve been working on remixes for Steve Kotey and Andy Meecham on Classic as well as Cocolores on Exploited.

How and where was the mix recorded?

The mix was recorded in my studio using decks and CDJs. I’ve edited a few of the tracks beforehand, but recorded the final mix live using the aforementioned equipment.

Can you tell us about the idea behind the mix?

The idea was to create a relentless, captivating, upbeat and danceable mix, which includes the main four musical elements of my DJ sets: My love for melodic techno, my obsession with bass-influenced house and techno, my soft spot for disco and my craving for good vocals. Furthermore the intention was to include older records, which have been favorites of mine over many years and to revive them in a modern context alongside new tracks.

Has living in Bern had much of an effect on your music do you think? If so, how?

I don’t think it had an immediate influence on my music, but the quiet atmosphere of the city and distance from the epicentres of house and techno have helped me to stay focused and down to earth and not to be influenced by trends or hypes.

What are the crowds typically like in Switzerland? 

They are musically well-educated, rather open-minded and while they might not be as outgoing as elsewhere normally, I’ve experienced very enthusiastic crowd reactions in clubs around Switzerland recently.

What are you up to next?

I will be working on my own material exclusively for the next few months and I’m getting ready for a rather hectic summer this year.

Matthew, you played in Japan last weekend. How was it?

Tokyo was amazing, as expected. The Dj Pi-Ge from Pan Records/Clubberia.com bought me over for a small party. It was an enthusiastic, knowledgeable crowd and we had a good time together. Some great record digging to be had there also!

Yeah, they must have some of the best shops there…

Indeed, I only visited Disc Union and Technique, but that was more than enough, they are both very well curated.

Any anecdotes you would like to disclose from recent gigs?

Oh, I always have a few, as seems that I can be a bit clumsy. The last one that stands out was when I was in Spain, I started pouring myself a drink while mixing and not paying attention, and poured the drink directly in my CD case instead of the glass, I totally didn’t notice for a few minutes, until I saw all my cd’s floating in Fanta Limon… Luckily, the promoter helped me out of that “sticky”situation and helped clean all the cds, which was very nice of him.

You were lucky it didn’t mess up your record bag. You still play vinyl these days?

Yes, only very rarely do I not take any records with, but there are occasions when I do not, for example if I go on holiday but maybe have one gig in a month there. I’m not so fussed on the vinyl/digital argument, really if it sounds good and gets the job done and suits my workflow I will use it. I still really enjoy the art of playing vinyl and the fact that it is not a perfect medium. There is something sexy about a 12” playing on a Technics turntable in a smoky nightclub. However, I have spent quite a lot of time digitising some of my favourites, due to the fact I destroyed quite a few favourite records over the years, so many things I like to play a lot I have recorded. Using computer as a DJ, for me doesn’t suit my workflow so I wont use it, but understand why people do.

I got introduced to your productions with the truly fantastic “We Said Nothing” on Diamonds & Pearls: What’s the story behind the track?

Thanks for the nice words! This one has a special feeling for me too, it’s the first time I really felt I captured the sound and feeling that I wanted in a track after many years of producing. Not sure how I could define that though. It happened all very quickly with the writing and production, and the next day I knew it was kind of strange but grooving at the same time.

I also like the Worst Case Scenario release on Rekid…

That project is with a very good friend of mine Ed Cartwright, he lives in the UK and has a family and business to take care of. Unfortunately, we seldom get a chance to meet for a couple of days to make something happen. Maybe its one of those projects that sees a release every five, ten years or so…

Tell me about “Liquid Sky”, the track which is on Nick Höppners forthcoming Panoramabar Mix?

Nick has been a big supporter of my music since the Diamonds & Pearls record, and I sent him some new stuff one day, and he asked if he could consider them for his upcoming mix, and he selected the “Liquid Sky” track, so they could use it for the mix and vinyl sampler. I am very honoured to be a part of the whole project.

It seems you’re quite prolific these days…

Well, it’s true that I have stepped it up now, I stopped managing labels last year, and decided I wanted to focus on the art of making music. I had been holding down day jobs for the last 17 years alongside music, and I thought for once it was time to dedicate myself to something I enjoy so much.

So you no longer handle the label affairs for Horizontal?

Dinky and I put the label on hold for a while, we started working on an album together last year which has been quite a big undertaking, so we decided to concentrate on that for the time being, but again it doesn’t mean that we won’t do more releases again someday, its just on ice for now.

It’s a big undertaking?

Well the style isn’t “dance music”, and its more song based structures with vocals and more complex arrangements, its a different different discipline and as we are both quite busy, there are only a few days a week to get in the studio if we are lucky. We didn’t have an experience of recording with microphones before and so its a big learning process for us.

Collaborating with Dinky: how is that working out?

Dinky and I have been together a number of years now, we got married a few months ago in Chile. This project is something that started as an experiment a year or so ago, and there are a lot of songs now, so an album is almost ready. Dinky is a fantastic composer, singer and songwriter, I guess I am more helping with some more complex technical things, some programming, sound design and mixing.

Did you have an idea when you approached this mix for Roof.fm?

I always just to find a nice flow of records from different era with nicely contrasting textures. Some old school, some new, classic and raw vibes with a few oddities.

Does the style of the mix represent what you would normally play in the club? Pumping sound between disco and Chicago house?

I think it’s a pretty fair representation of what I do, all the records are in my bag :) Somedays I can be more this or that, but I think this one is in the middle.

Special Download

Reynolds swooped onto our radar last year with the crunching machine soul of his Liaisons EP, released on the fledgling Nsyde imprint and a high ranker in our Best Tracks Of 2011 list. The effusive tones adopted for that feature remain true today, with the twelve inch a mainstay in our respective record boxes. Wanting to know more about this obviously talented producer, we were naturally delighted when Reynolds accepted the offer to join our podcast series, more so when he revealed a preference for recording a live set instead of a mere mix.

In addition to treating us to a live set that ebbs and flows its way through filtered house, funk and disco, Reynolds engaged us with a series of answers drenched in illuminating detail, revealing this year to be filled with exciting material from him on labels as excellent as Future Times, L.I.E.S., Boe, Creme and more, as well as shedding some light on life in Detroit, that most fabled but troubled musical city, in 2012.

Thank you for recording this set for us – can you tell us a bit about some of the equipment and material used over the course of its duration?

I recently changed from using a strictly analog setup to using Ableton Live. I used to use an Ensuing EPS-16+, then a MPC, then a Yamaha RS7000. I was touring in Holland seven years ago and I had my gear strapped to my chest and back looking like some dude from Special Operations, and I looked down at my $2700 Mac and say “what the hell is this for, checking (back then) Myspace?” After that I purchased Ableton. It sat on my computer for years. Then back in 2011 I decided I needed to switch over for many reasons, the main was power supply issues. I played in London back in 2008 and my TR-808 caused the power converter to fail. I didn’t want that to happen again. I had a conversation with Brendan Gillen and he convinced me to get an APC40. “It;s like using analog shit” – sold. Then the Maschine came out; I pretty much compose all my music in Maschine and then dump it into Ableton. I also love Arturia, that shit sounds so real. And all the U-he stuff is straight.

How are things in Detroit these days?

Sometimes, when you are in Detroit you forget that people outside the city actually care what you are doing. Detroit is going through a hard time – more than usual – as the state is taking over our city in a dictator-like fashion. Now, more than ever my music reflects the hardship we are dealing with. My democratic vote is worthless and I’m frustrated, so forgive me if my music comes at the people in a harsh way but that is just my environment coming through. I live in a city where I pay ridiculous taxes on par with the richest suburb, yet I receive nothing in return. I call 911 and the police show up seven hours later. But on the other hand, we are a resilient people here and have nothing but hope and love on our minds. There is a full on farm behind my house with turkeys, chickens and ducks. Things will pan out in the end. People tend to believe that we are a hyper post-capitalism society. We already spent through industrialism in the 1980s and now, some say Detroit is once again the model for the future.

Let’s discuss what convinced us to get in touch with you, last year’s Favis reissue on your own label and the Liaisons 12” on Nsyde, which was your first new material to surface in several years. What made you decide to return to the art of releasing music and what had you been up to in the interim?

I make music every day. What did KDJ say? “I go home and fuck that MPC all night long.” Words to live by. Richard Zepenzauer of Nsyde was extremely influential in getting this music out of me. He kept on coaching me about the tracks, to a point of he was driving me crazy, in a good German way. He would ask for so and so changes and I was like, “what is he talking about?” It got so bad at one point that I lied and said I made changes when I didn’t just to see if he was paying attention. Never do that to a German! He totally called my bluff. I love Richard for that, his patience is incredible. When I was younger I used to make music and beats and then at the end of the day I would simply turn off my Ensoniq in a Buddhist type Samsara thing. Didn’t save anything. It taught me how to compose on the spot. I am my hardest critic. I think all my music sucks until I have that magic moment in the club where it just makes sense. Detroit is a practice ground, people will say you suck to your face and I love that. I did a lot of work in the interim, a lot of listening. I mean I had guys like Gilles Peterson telling me he liked my music; that alone blew my mind. I feel blessed that I had the unique opportunity to have Osunlade guide me. He has taught me to stop being so technical and focus on the feeling at the end. Derrick May taught me to not listen to the rules, in fact run against them. So between them I feel like I’m reaching somewhere special.

We should add we are very glad you did, as “Liaisons” is an amazing track, the way the harsh textures sit with the chords is enchanting, were you surprised at the response it has garnered?

Again, I thought it was ‘whatever’. I did make that song based off a neighbour kid coming by the house. Now he was a straight Lil’ Wayne Jeezy kinda dude at 17 years old. I was on some “you youngins don’t know shit” vibe and showed him Liaisons Dangereous. He took two steps back and was like “what is this?” Yeah that’s how I felt the first time I heard it. I was inspired by that to make “Liaisons” and “Port”. I feel it’s so important to focus on young people to carry our tradition on – look at what Mike Huckaby is doing with Youthville.

There’s a definite improvisational feel to “Liaisons” – is your recording process based around an idea which you then expand on sat in front of your equipment?

Always improv. Techno is jazz. Don’t get it twisted, this music that we do is inherently from Africa and what happens when music gets to the US shores, it turns into gospel, then blues, then jazz, then Motown, then funk, then hip-hop and techno. I might be Irish American but African influences are all around me, and I’m adding my Irish funk to this stew. That’s how the Jazz guys did it and that is how I’m going to do it. Again I was just trying to emulate what Liaisons Dangerous did before me. Next to Kraftwerk those cats are untouchable. I’ll never forget Derrick May playing that album for us up above Transmat in his loft. I could hear how Carl Craig freaked that sample. It just gave me inspiration.

“Techno is jazz. I might be Irish American but African influences are all around me, and I’m adding my Irish funk to this stew”

That is obviously the prelude to a number of releases from you this year across an array of labels, can you discuss these with us or do they need to remain under wraps?

Well I have something coming out on Love What You Feel, and then BOE, Future Times, L.I.E.S., D Records, Transmat and an album on Yoruba. I’ve never been this busy.

You did vocals on a track by Alex Israel – how did that come about?

Alex asked me to do some lyrics about my life in Detroit. Alex is a full on Detroiter, he has been involved the Detroit hip-hop scene for a while. He approached me to talk about the happenings in my hood and I said yes. The song was about all the damn plastic bags in my neighbourhood and about some crackhead peeing on my fence. Just a song about frustration – everybody can relate to that right?

From doing some research I found out you used to read Jockey Slut (a personal inspiration) and actually used a copy to persuade your liaison officer of the necessity to undertake a studio internship in Detroit – it sort of blows my mind that you could get Jockey Slut in Arizona!

Jockey Slut was the bible in my opinion. I remember not having shit and me and my roommate Sam Courtney sitting in the living room with a Jeff Mills tape flipping through Jockey Slut going: “Man how do we get to this level.” This is before the internet. I used to read The Source, the hip-hop magazine like, it was a bible, but when Jockey Slut came out that was my shit. So when I graduated Audio Engineering school at the Conservatory, I told them I wanted to go to Detroit. Pauses, lots of pauses. I was like “you don’t understand, this music is changing the world.” Again this is before the internet. “Kevin, don’t you want to go to L.A. or NYC? Nope. Detroit. I tried for Planet E and then Metroplex. No dice. Derrick was willing to take me in. One day while playing basketball with him he goes in his high-pitched voiced “Kevin, we know why you are here”.

I gather you’ve worked as a live technician at the Movement festival or DEMF as it was then called, for someone on the other side of the Atlantic what’ the festival like?

I’m a stage manager. Real Detroit stage, go figure. And I’m damn good at it. In fact if I could do this for a living I would almost as much as music. The man who taught me everything I know is Michael Fotias. Mike is the man in Detroit – he taught me, above anything else, how to stand your ground. Back in the Richie Hawtin rave days, Mike (Foton) was the sound guy at all the parties. Now he is the main guy when it comes to sound at Movement. Nothing at that Festival doesn’t pass through his ears. That guy is a genius.

The line up for this year’s edition is pretty eclectic – is that indicative of how open Detroit is to new music these days ?

Detroit has always been eclectic. We grew up on Mojo. I don’t need to say it here but Mojo was so important to us in Detroit. I have spent nights recoding him in my grandma’s basement. There where no bounds. I think that rubbed off on me when I moved to East Lansing while my mom went to Medical School. I was surrounded by people from Sudan, Mexico, Kenya, Sweden… As a whole, people in Detroit have no idea about what Detroit techno is, you say “I play techno” to Cherise Stevenson and she will look at you cross-eyed. If you say I DJ down at the Tech Fest then she understands. DJ culture is huge in Detroit but Techno/House is not. Everybody in this city has a cousin or a brother that DJs, just like in the Motown days everybody had a cousin or brother that played a bass. But on another note, the cats I’m most excited to see are Actress and Lil’ Louis. You know Paxahau, they caught a lot of shit in the beginning of taking over the festival, but these guys are doing it for the love. These guys transformed a haphazard festival into a full on production. They are professionals in every way. For that alone I could hug every each one of those guys. Paxahau has made Movement a beautiful thing.

Prepossessing the ability to effortlessly maneuver through the realms of house and techno, as dawn breaks over 2012 the many facets of Tim Green’s production dexterity is casting reflections in innumerable directions, illuminating a musical and thought-induced excursion on which the 27-year old is embarking.

Experimenting across the spectrum of electronic music, whether putting out reverberating minimal techno of Amnesia peak-time kind-of-measures, or sprinkling some of that unmistakeable TG charm over productions of popular appeal, his work is stamped by ingenuity, fearlessness and fun – which also granted him the ‘Best Breakthrough Producer’ award at DJ Mag’s Best of British in 2010.

After fully bursting onto the scene in 2008 with modern classics ‘Revox’ and ‘Mr Dry’ snapped up by highly-revered Dirtybird and Trapez Records respectively, and picking up support from top players such as Sven Vath, Richie Hawtin and Luciano along the way, Tim swiftly catapulted himself into the upper echelons of the techno hierarchy. A string of high profile releases followed in short succession adding Cocoon, Get Physical, Saved & Four:Twenty to an already impressive back catalogue, as well as remixes for XL Records, Sci+Tec, Moshi Moshi and Souvenir.

With an idiosyncratic groove and off-kilter cheekiness his sound has seen him tour the electronic bastions of the world, including Space – Ibiza, Womb – Tokyo, Fabric – London, Sankeys – Manchester, Watergate – Berlin, D-edge – Sao Paulo, Electric Pickle – Miami, WHP – Manchester, Bestival – Isle Of White, SW4 Festival – London, Zouk – Singapore, Rex Club – Paris. As we are heading into 2012 Tim makes a welcomed return to his underground roots, captivating crowds in more intimate yet discerning settings, along with heading up his own night Bedlam, which is currently on everyone’s lips.

On the production side of things 2012 is already looking like another stella year with
with a dark and twisted remix of Sacha Robotti ft Qzen’s Fotograf on Klasse Recordings and, following on from last year’s ‘In Love EP’ on Get Physical, he has teamed up with Robert Dietz & Audiofly for a remix package due for release in April. This summer will see him return once more to Cocoon to release the outstanding ‘Curious Smile’, plus an EP for Get Physical and remixes for Supernature & Oh Yeah Records, as well as putting the finishing touches to his much anticipated debut artist album.

Taking into consideration the achievements Tim has reached in the span of merely four years, it is a gathered electronic community that awaits his next move, Where to next?

In Ukkonen’s own words: “there is no real tracklist for this recording, as I was jamming most of it… The other mixes I’ve done have been concept ones, so for this I just kept it totally abstract, it’s just about the sounds and rhythms and no messing about with anything else! It was done on my live setup which is mainly an obscene number of samples loaded onto a Roland SP-404SX and some kids’ toy keyboards (which is where most of my pad sounds come from) – although for this special occasion I added one or two secret weapons…”

If you love Ukkonen’s music, you should really catch up with the EPs, which I’ve talked about previously on the radio these past few months, and which are available from Rednetic and Uncharted Audio. The big upcoming news is the album, The Isolated Rhythms of Ukkonen, now due out in May. It’s wonderful. Keep an eye on http://unchartedaudio.com/ for the final release date and details on buying the vinyl.

A soundtrack to an imaginary film.

What marks out Felix Manuel from the hundreds of other UK bass producers that have emerged in the last few years? At the very least we can say with some certainty that few have created an EP as good as Mountains. The 2010 four-tracker for 2nd Drop Records displayed a startling knack for sample manipulation, stringing out hip-hop, dubstep, techno and gabba to form a rich and cinematic whole. Gabba? Yes, gabba. As part of the Yardcore crew on Sub.fm, Manuel became schooled in the quickest of club genres—breakcore, ghettotech, drum & bass—and continues to dabble with tear-out styles during his far-reaching DJ sets. Jazz is a further touchstone of Manuel’s sound, particularly (or perhaps specifically) in terms of his recorded output. His 12-inches for On The Edge and Smokin’ Sessions to the aforementioned 2nd Drop, have all been based on judicious samples, although Manuel is just as likely to borrow from classical music or an overlooked soundtrack.

That latter source is particularly pertinent here: in approaching RA.307 Manuel set-out to compose a “soundtrack to a movie that’s not been made,” freeing himself from playing to an imagined dance floor in favour of creating an atmosphere through tracks by Chris Watson, Herbie Hancock, Untold, Marcel Dettmann and plenty of his own matertial.

What have you been up to recently?

Working hard and moving house. My record collection is a total mess, but on the plus side it now has a room to itself. I can’t wait to get it sorted.

How and where was the mix recorded?

I started by recording a live mix in Ableton Live at my flat in south London. I then spent a couple of weeks chopping it about and adding extra samples: remixing it and adding field recording atmospheres and film samples. I wanted the post-production to really add value. I needed to be doing things that would not be possible in a live setup, like remixing folk tunes into techno and working to an obsessive level of detail.

Can you tell us about the idea behind the mix?

It’s the soundtrack to a movie that’s not been made. I wanted it to set the scene for my own productions rather than showcase how I DJ at a dance. Sound design and incidental music for TV and film is a big influence on me in my productions. Taking this approach freed me up. It allowed me to do a lot of things I’d never get away with on a dance floor, both technically and in the selection.

Mixing for a podcast is totally different to mixing live in front of a crowd. You have the opportunity to create something timeless. It’s not about reacting to a place and time and an atmosphere; it’s about creating an atmosphere from scratch. If you focus on pulling out all the latest dubplates to come across as cutting edge as possible you end up sounding very “now.” I wanted this mix to stay on people’s iPods for as long as possible and to linger in the mind. I hope that including tracks from as far back as the ’60s, right up to future releases will help. Hopefully I’m playing people something they haven’t heard before in a way they’ve not heard before.

You have a background in DJing breakcore and generally up-tempo styles of club music. Have you given much thought as to why your productions to date have ended up so comparatively relaxed?

My productions are based more around a process than an aim. I’ve learned to really go with the flow when I’m producing. When I’m in my studio at home I’m in a relaxed setting so I guess it’s not so surprising. It wasn’t until I let all of my influences into my productions that I started to really get somewhere with them. You can hear a breakcore influence in the Mountains EP I think. The idea for the fast 4×4 kick section in “Mountains Pt.2″ came from gabba. I was particularly thinking about the drop in “Way of the Homeboy Pt.2″ by Hellfish and Producer.

You appear to favour a sample-based approach to making music. What are some of your preferred genres/time periods to draw upon?

Jazz is my main source. I guess I mainly stick to 1966-76…a little later for European stuff. I’ve been collecting jazz records for like ten years, I’m really proud of my collection. Classical music and soundtracks are also important starting points for a lot of the ambient and dub sound design in my music. I try to use synths as little as possible but it can be really hard to stick only to samples. I paint myself into a corner. Sometimes I just can’t find a source for what’s in my head. More natural, acoustic sounds have always appealed to me. Up until I got into techno my main focus in electronic music was always hip-hop, trip-hop and jungle.

Do you get a chance to play any of your own material out?

I always try to get one or two of my own tunes in there. It’s annoying that I can’t test out new stuff when I’m playing all vinyl. That’s something I’m working on: a setup where I play all vinyl apart from a few “live” elements from a laptop. I might have that together by the summer.

What are you up to next?

I’ve got an LP in the making. Very excited about that. Nearly there, but I’ve got lots to do still. My next 12-inch is coming very soon, and there’s a remix 12-inch on its way too. One track from that’s in this mix.

First up, Hard Wax Berlin’s House and Disco specialist Finn Johannsen. Working there since 2010, but cutting his teeth before then as a DJ, label owner and music journalist, Finn’s knowledge and taste in the music we love is second to none. Buying in tunes from distributers which are in turn bought by music enthusiasts, DJ’s or whoever else; Finn’s selections help shape the city’s musical climate. This mix, as you would expect, is sheer class; rolling from house to techno to a bit of proper old electro with consummate ease. Make sure you check Finn’s new Louche Interview to support this podcast to learn more about the guy. Finn Johannsen and the others record shop buyers out there, we salute you!

Interview

EG: When did you first started to get interested in electronic music?

AU: I first started to get interested in electronic music in the mid 90´s, I was involved in trash metal music, and with my band we felt the need of experimenting with electronic music in our songs, so I started digging into the great techno music of that time and got so deep I couldn’t find the exit.

EG: Your latest  album released on Soma is titled “La Maquina de Bolas”. Can you talk a little bit about the album and why that specific name?

AU: My latest album “la maquina de bolas” released on soma, is a collection of developed sketches I did 2 years ago, that meant for me the end of a big artistic crisis I went thru, in the last times I felt so exhausted of everything concerning techno music I was incapable of making even a loop. It was a long and sometimes painful process to get to what we know as “la maquina de bolas” today.

EG: After your successful “Dispositivos de mi Granja” album what can we expect from this new album?

AU: What we can expect from my new album is the feeling of the same enjoyment for whom makes music for the first time and forgets about all the rest. We can expect something fresh and different, and on top of everything a record made with love.

EG: What was your main influence to produce this new album?

AU: My main influence was probably the silence, or the background noises that sound on top of what we know as “silence”. the common theme in this album, is the capacity of the human brain to listen and file the sounds, how sounds are moved to the background by the brain when it is listening to the same sound for a while and gets ready to analyze the next one. It is something that we live everyday, like when walking through the city we don’t notice the sounds of the traffic, or the sound of the sea when you are in the beach.

EG: Is there a tour planned with the release? Where?

AU: Yes, I’ll be touring soon “la maquina de bolas” it’s going to be a very different kind of performance for me, different environment and probably different audience from what I’m used too, so that makes it exciting. the best case scenario i can imagine to play it is a 5.1 dark place, with cushions or alike during a Sunday morning. A good cinema would do just perfect.

EG: Thanks Alex!

BIO

The deepest meaning of ‘collage’, defined by Max Ernst, is the general application of Arthur Rimabaud’s ‘delirium’: “I accustomed myself to simple hallucination; I saw quite deliberately a mosque instead of a factory, a drummer’s school conducted by angels, carriages on the highways of the sky, a salon at the bottom of a lake: monsters, mysteries, a vaudeville poster raising horrors before my eyes”. We could describe collage as an alchemic compound of two or
more heterogeneous elements, derivate by their unexpected approximation generated deliberately by the search of systematic confusion and distorted perception.

Alex Under confirmed himself as the new reality of the best international techno, sometimes being minimal and deep, sometimes hard and aggressive, but always original. He creates a sonic collage combining techno, trance and house elements while he constructs complex rhythms that arise from the dance floor taking the listeners to a higher level where emotions, depth, mind & body blend in a unique equation. Alex Under will intrigue beyond your perception…

The man behind the now extinct NET28 family -Apnea, CMYKmusik, Cyclical Tracks and Mupa-, together with Tadeo, Damian Schwartz and Imek, runs now on his own the labels CMYKmusik and Bemysheep… Pure delight for our inferior extremities.

‘Dispositivos de mi Granja’ was Alex Under first album (2005), released by the prestigious german label ‘Trapez’ , where he has released some of his best EP´s. In 2006 ‘Collage’ was released by Plus 8, Richie Hawtin label. In march 2012, ‘Lá Máquina de Bolas’ , his second album, will be released by SOMA Records, a real introspective techno journey of beauty and hypnotic groove.

‘You Are A Hybrid Too’ carries on Lekebush’s legacy of ingenuity driven by his unrelenting passion and what is almost an addiction to music production. Throw this in with the added dimension of the challenge of a concept to work to has made his work develop and progress over his 20 album legacy. You can listen to yourself as we ask the Swedish born technoist to select 5 tracks the he personally finds significant in this journey against the very latest part of the Cari Lekebush story.

It’s been a year since we last spoke, you were just embarking on a H-Productions tour – how did that go?
Yes, that must have been around March last year when we had just launched the H-Productions events concept. In the last year we did quite a few parties including shows at Berghain in Berlin, Melkweg in Amsterdam, Komplex in Zurich, Berns in Stockholm, Tresor in Berlin and of course fabric in London. We also did a two week tour of South America where we played a series of shows in Colombia and Venezuela. All the label events last year were great fun and lots of the venues have asked us back for 2012 so I guess that means we’re doing something right?

But the idea for the label is to have the tours go all year round and over with the production projects and help get the word out about them. For example, I just did 2 months of touring for my Archeology mix compilation, and now I am starting out on my “Your Are A Hybrid Too” album tour starts which starts this weekend at fabric!

You mentioned the Archeology Excavations series of compilations – can you tell me more about the ideas behind this?
The whole concept of that series is to retrace the steps that led to the current musical alignment of the label’s core artists and producers. Myself and some of the crew at H-Productions have put together an eight part series of compilations that will explore the techno archeology of each of us as individual artists . Each collection will delve deep into the artist’s back catalogue, unearthing long-forgotten and undiscovered examples of their work and tracks from other producers that were landmarks within their own evolution. The series will describe the story of how each producer made their journey from then to now; documenting the tracks each artist feels were instrumental in shaping their own history within techno music. You can actually listen to a teaser of my contribution for free here.

There’s an overall theme of concepts being a big part of H-Productions mantra. Would you say it’s a really important aspect of your creativity?
Yes there are many conceptual connecting points in the various releases we do and all the artists we work with enjoy working in this way. As a group of people we are all of course creative because of what we do but you only have to spend some time with people like The Advent, Alexi Delano, Tony Rohr, Jesper Dahlback to realize that they are very ‘human’ individuals who enjoy life and enjoy telling stories in a way that illuminates the facts a little beyond the bare factual bones.

For me, this is why we work so well as a group because I am the same way too. I would much rather make an extra effort with how what I produce is presented in order to make it more interesting to the listener. For this reason, I see all the concepts that we create as being part of a bigger story that is playing out in an unique dimension, and I would say it’s easy to feel and see that this approach can bring about inspiration in others by the way our artists have bought into the concepts and how our fans have received them. It’s like when you serve food and make an effort with its presentation on the plate – make it look that bit better. Many people find this little extra effort makes the food taste better – it’s a psychological thing that also applies to the experience of listening to music too.

You’ve just announce your 20th studio album – “You Are A Hybrid Too. What a landmark! Can you tell us more about the ‘one bar’ concept used on this album was this something specific just to this one?
Yes the “one bar” term is a little abstract but that is a keyword in the album as well. Part of the concept which I stuck by with all the album tracks was to keep it simple, but still to have the same interesting musical ‘story’ you might get with more complex structures. Essentially, what this meant, in terms of making the tracks, is that if an element was not needed to make the fire keep on burning, I just left it out. In addition, when I was evaluating if I needed to bring something else into the mix, rather than presenting a new sound element into the track I chose to use what ever I had running already and apply effects that would bring the required variations. All the tracks on the album are knitted from 1 bar measures, 16 steps on general sequencers (that’s 4 bassdrums).

I tried to avoid computer grids and complex arrangements and I recorded much of the album as live takes where the maximum I could control was whatever I could do with my own two hands. I also tried to resist the temptation to change things by editing afterwards so that I could keep the basic essence of the tracks being simple and ‘live’. I think what came out was a very DJ friendly result, with a touch of what i was doing back in 1995.

Why do you think you’ve managed to achieve the release of so many studio albums? It’s not something many people can say that they’ve achieved…
Well, for me it is the most natural thing to make music and I do not believe I am alone in feeling like that. I can name quite a few artists I know, that like me, just have to make music in order to feel good about themselves. To put the feeling in simple terms, it is like if you don’t go to the toilet for a few weeks! That’s how I feel when not having made some music. The way I am programmed means that my music just has to come out! So the fact that I have made so many albums is not really something that I reflect upon. It is something that has just happened because of who I am as a person.

What I will say though, is that after so many albums, I have made my mistakes which I’ve been able to then learn from; it has also allowed me to think freely about the music I want to make as I have gotten a lot of ideas and thoughts out of my system already. I think this was an important aspect for me in making this album. It is an album made by me, for me. If you happen to like it, play it, groove with it then great, but I am already highly satisfied by the result as it turned out just how I wanted it to.

What’s been the biggest change for you in the way you make music today?
That is an interesting question and something which is hard to pin down to just one thing as I think the way any producers works over time will evolve and different things start as challenges but are then overcome and mastered before you naturally move on to the next challenge and go through the learning process once again. However, to give you some kind of boiled down answer I would say that the hardest part for me was to learn how to use the computer for making music. I started out making music only with analog machines and the whole technique of recording sounds and eventually tracks by using outboard processors, mixers and effects etc. This is of course quite different from working with computers and digital software but as a producer it was impossible for me to stand still and not look to embrace the new technology. Analog and digital ways of making music both have their upsides and downsides so my approach was to try to use both of the upsides in combination in combination with each other. I think the perfect symbiosis of classic and new technology can result in an organic, live feeling and sound from the analog machines combined with the control and precision of digital tools which I think is really important when it comes to upholding modern production values.

What else do you have in the pipeline this year?
Well, as I mentioned above I am generally in the studio 24/7 – just can’t get enough of it – so there is plenty of new material already in production. As a label, H-Productions will release two or three more Archeology Excavation compilations, there will also be artist albums from The Advent and Alexi Delano plus another various artists compilation made by all the core artists on H-Productions. Personally, I have many new tracks myself, and I am currently working in distributing them to labels. I have made some tracks for my buddy Jesper Dahlback to release on his label ISLR (International Sound Laboratory) and I am also working on some new music to send to Luke Slater’s Mote Evolver. My aim is to try to release something every month, but we want to make it all neat and tidy, so sometimes there is not enough time. Then it is better to wait, to be able to make it fully properly extraordinary. So for the final juicy details you will just have to wait and see…

We had heard whispers of a new Advent album coming on H-Productions. How’s that sounding?
I am making a special trip back to UK very soon to catch up with Cisco and to get my first sneak peeks of the album material. So sorry, I wish I could give you some more details but I don’t know anything really beyond that we are planning to release the album this summer and of course, it will be awesome!

And finally, it’d be great to take this landmark as an opportunity to look back over your 20 albums. Can pick us 5 tracks that have a special meaning for you?
WOW… it is hard to just choose 5, but let’s see ….here we go, in no particular order:

Cari Lekebusch – ‘Unite’ (H Productions 2004)

Cari Lekebusch – ‘Shaded’ (Truesoul 2004)

Cari Lekebusch aka Ph Rhythm Dr (psydonym) – ‘Mad Poet’ (Hybrid Sound Architectures 1997)

Mr James Barth (psydonym)- ‘For The Lords’ (Svek 2008)

Fred (psydonym) – “Nightshade” (Missile Records 1994)

Special Download

Having released productions on Highgrade Records, Lorna and on Steve Kotey’s Hairy Claw as well on the German-New Zealand Label Curl Curl Music, 2008 saw his new release “Slice of Life” drop on Moon Harbour Recordings and “Bad Wolf” as a part of the new Moon Harbour Label compilation Inhouse Vol. 3.

Now a permanent fixture of the MH stable, Dan’s delivered us a mix to celebrate the labels anniversary – enjoy!

Recent projects have included a collaboration with Detroit badboy Kris Wadsworth on their Present team America EP, whilst Butane has also recently started a new mix series on his Little Helpers imprint. He himself has mixed together a collection of the labels finest offerings and the release, entitled Little Helpers Mixed: Volume One is out now.

As for the podcast he’s turned it for Autobrennt , well, it’s as you’d expect of a man of his standing. It skilfully weaves its way through rigid machine grooves, frazzled house and plenty of abstract vocals, all of which adds up to an offbeat selection of unique electronic gems.

After all these years, it takes quite a lot from a club to impress me and when asked about my favorite clubs, I sometimes wish I was a one-armed hillbilly not too good with chopping wood.

TROUW is in Amsterdam, a city that had proven very disappointing since my early memories of Dimitri at the Roxy-who is actually resident for special all-nighters, and still has the magic from what I’ve heard, at the above mentioned place.

Not only the club itself is amazing, located in an old printing factory but they sometimes move the one of the floor to the best room I’ve played in ages. Dark as the pit of hell, clever minimal lighting, rough and ready like an East German garage circa 1993. The vibe. Where Black Magic is the religion de rigueur. Not to mention the now ditched performance night where I saw Jesus covered in shit and candles in the wrong candelabra.

Special Download

Unlike many other techno artists who made their way to the scene by trying to release on established labels, you put on your early works yourself by means of self-publishing. Can you tell us how it all started for you: when did you make your first steps in producing and how did you end up releasing tunes on European labels?  
- In the beginning, in my native country, I was just another nobody in our little so-called electronic music scene, but I have already started making music and with the help from a friend to fund the publishing so that i could release something “official” which was the CD format, to pass on to some radio stations and DJ friends. And then we made it to our local stores for sale. About 2 years later I think, I realised that my music needed to reach out to the rest of the world, and then I found out about MySpace. A guy who used to work for this label called Meerestief from Stuttgart, Germany, was kind of fond of my tracks posted up there and he contacted me for a possible release on the label.

It is widely known that you had experience of working with commercial brands like Nokia and Nike for a while. Does it have something in common with the music you release as Xhin for public attention? What are the similarities of these approaches and what are the differences between them?  
- Both are totally different worlds: I make various of genres and sound designing for the commercial side of things. As for Xhin, you know what kind of music I’m making…

Last year you released another album called ‘Sword’ which probably turned out to be the most successful project of yours in terms of attention drawn. Are you happy with how it all ended? Is it fair to say that more dancefloor-friendly stuff (like those tunes you release on CLR/Token) would be out of context if being placed on the album?  
- I think you can somehow hear some elements that are quite similar, same identical structures approach from all of my current production even though they are made for the dancefloor, or home listening.

You have your own special way of building a club set. I have noticed that you are always trying to play more ‘leftfield’ music in the beginning and especially at the end of the set which is really fascinating. Please describe how you see the development of your mixes yourself.  
- Thank You. I think the way how I mix is that I like my sets to be a little playful sometimes. I like music not just only the Techno side of things. There are many other genres that you can dance to as well.

How would you describe/introduce your Addicted podcast to those who haven’t listened to it yet? I assume that there are lot of ‘combined’ tracks made on the fly here, aren’t there?  
- It was recorded during a jam session in my studio. This mix consists of the regular dancefloor material and some breaky stuff in the next half. Basically, it’s a set of tunes that I normally play out.

Still little involved in music production, Julietta has had plenty of time to perfect herself as a DJ…And we can say that all these years of work have paid off, because her podcast for Trace A Line is a superb selection of house tracks brought straight out from her personal vinyl collection. The key word is love.

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

Just a guy who discovered doing music is the perfect excuse for partying every weekend and not having a real job? Hardly.
Already when being a teenager, living far out in the german countryside, Andre Crom got intrigued by House and Techno as an exciting and irresistible escape from the boring surrounding he faced. Mid-90ies-dance and house left a strong mark on his taste which prevails until today.
The call of music led Andre into a career in electronic music spanning over 10 years, starting out as journalist interviewing heroes like Masters At Work or Mel Cheren of West End Records, continuing as booker and developing his dj skills at countless of gigs. In 2008 Andre Crom finally moved to Berlin and since then works fulltime as labelmanager, music producer and dj.
His label „OFF Recordings“ belongs to the most popular imprints of its kind, its releases getting good feedback and plays from virtually any dj with a taste for good house music and regularly entering high chart positions in the leading vinyl & digital stores; „OFF SPIN 03 – Thyladomid – The Voice“ held the Beatport Deehouse Chart # 1 position for many weeks to name just one example. Crom’s coproductions with Martin Dawson „Gonna Be Alright“, „In the City“ or „About You“ were instant hits on Decks, Beatport and Resident Advisor as well.
However, Andre Crom’s love for house music becomes most evident on his gigs, playing a mixture of own productions, hard-to-find oldschool gems and carefully picked current releases, always groovy and 100% focused on the floor.

You’ve said that places like DMZ and FWD>> are big influences for you, but how did you get there? What got you to your first DMZ night, to your first FWD>> night?

Ben Thomson: I would still consider FWD>> and DMZ the real foundations of what we do as a label and what I still try to do as a DJ. I would cite the early dubstep scene as probably the single most important influence which runs through everything that we’ve done in the past four years, really. But I was interested in dance music before that; I was probably about 17 or something when I started listening to jungle and drum and bass. I think my first exposure to that was through a DJ called Bailey, who was affiliated with Metalheadz. He did a show on 1Xtra, which is the BBC’s “urban” music outlet. I found the music he played interesting, he played quite a broad cross-section of stuff but really focused on records which retained the influence of early jungle and the aesthetic of that music, and focused on sort of frenetic breakbeats and broken drum patterns… very sub-bass oriented. Hearing his show got me digging through all of the mid-90s stuff I missed out on.

I don’t know if Bailey is playing that kind of music now, or if he still does radio. I’m not really sure, but through that show I started going out to some nights. There was a night called Technicality that was run by a label called Inperspective and a night called Bassbin, run by the label of the same name. They were both in the same venue, a place called Herbal. I’d go down to these nights — they were mostly, like, mid-week, and I’d be the youngest person there by a stretch. It was mostly slightly older heads who had been into the music since the 90s. I was around all these people who were very knowledgeable about different strains of electronic music, and I really value that as something that helped spark my curiosity. People were starting to document dance music quite thoroughly online, so I was quite lucky in that respect to be able to dig through decades worth of music. Maybe not as easily as I could do now, but far easier than it would have been 15 years ago.

And then it was just a natural progression to end up at FWD>> and DMZ?

I guess — I was first exposed to dubstep through the people I was hanging out with at those nights. There was a point in early 2005, or maybe slightly before, when it was starting to pop up on people’s radars a bit, it was starting to get more coverage online. People were talking about this “interesting new genre.” I checked out a few records — you know, at that point there were maybe one or two releases every couple of weeks or something. I checked out DMZ 002, which included “Horror Show” by Loefah, this sort of seminal half-step track. I remember checking out a couple of the early Tempa releases. But what really sparked my interest were the Toasty Boy records I heard. I can’t remember what the 12? titles were, but I connected to them straight away through of the use of breakbeats and the slightly busier drums — it was an aesthetic that I was more familiar with. So I latched onto that side of things, and I was excited enough to want to go down and check out any nights where those people were playing. And as soon as you get down to FWD>> or DMZ, suddenly those records that didn’t really make much sense to me in my house made perfect sense on a dance floor with a good sound system. Everything suddenly snapped into focus. On a track like “Horror Show,” for example, which in my house just sounded really empty and quite cold, when you hear a bass line like that on a system that’s capable of reproducing it, it sounds alive. Obviously the use of sub-bass doesn’t differentiate dubstep from other forms of UK dance music, but it took listening to the music on big sound systems to lift dubstep out of that sparseness for me. It really made me value that sound system culture that runs through the music.

As a DJ you’ve done festivals and intimate club gigs, podcasts, radio (both internet and FM), commercially available CDs and cassettes: how do you approach each of these situations?

There are loads of differences between those different formats. Even the transition between internet radio and FM radio… there’s a big difference there in terms of the wider significance of playing on FM radio when it comes to UK music.

I first started to DJ regularly on an internet station called Sub FM. I ran a show called the Ruffage Sessions with David [Pearson Sound] and Kev [Pangaea], and we then went on to form the label. It was my first experience of playing regularly anywhere, and my first experience of feeling pressurized into really digging for music that other people weren’t playing. You know, what’s the point of doing radio if you’re just presenting the same material every week? And not only that, but if you’re presenting the same material as everybody else as well. That was a real issue at one point — like I mentioned before there just weren’t that many records being released. So I guess that’s something that carried through to the Rinse shows. I don’t like to repeat myself too much, and I think doing something like radio for two hours regularly is a really good testing experience. It forces you to look slightly harder than you might do otherwise, and to dig slightly deeper than you might do otherwise. So I’ve taken that from radio into playing in clubs. I’ve kind of forged my reputation off the back of being able to draw together loads of disperate styles of music from different territories and different eras. I think it was down to radio that I’ve been able to do that, because that was what got me digging in the first place. That’s why I have those records.

I guess I still think about doing Rinse in the same way that I thought about doing Sub FM, but I see it as something more explicitly tied to what I do now. I mean, Rinse has a really strong presence on the Internet, and that kind of dwarfs their presence on FM radio in London, but there’s such a strong history and such an embedded culture of FM radio transmission in London and that was probably the most crucial in element in shaping dance music here. For a lot of people it was where they experimented and where they formed their ideas about where they wanted music to go. It’s where people bounced ideas off their peers. I don’t know if it’s necessarily to do with the format or if it’s something that just comes with getting a little bit more exposure and having a larger audience, but on FM radio I definitely feel a pressure to live up to the standards of the past.

Club sets are really great and definitely different to radio. I guess primarily because in a club you’re getting constant feedback from people every time you look up. To see a room full of people moving, one way or another you’re always gleaning information about what they like. Every time you look up and see how people react to a certain track, and that feeds back into the set. I really like the immediacy of the response that comes with DJing in that situation. I’m interested to find out how playing out informs what I play on the radio, because I think the more you play in the clubs and the more you play to an audience, the more difficult it is to know the extent to which you’re playing for yourself. If you DJ for a living, which I’m lucky enough to be able to do, you know, people’s self-esteem is tied up in what they do. It’s pleasing to see a room full of people having a really good time, enjoying your music and enjoying what you’re playing. If you see a room full of people having a great time, you’re more likely to have a great time yourself. So I’m interested to try and figure out the extent to which my enjoyment of DJing is bound up with other people’s enjoyment of what I do. I don’t know if it’s possible to separate the two things, and I think that’s something that has only come as a result of club DJing, as opposed to radio DJing. With radio DJing, you’re in a room by yourself playing records and you could have thousands of listeners or you could have 10. In a club, you’re hyper-conscious the people around you and whether they’re having a good time. Or at least I am, anyway.

So would you say that doing the radio show shapes the contents of your record bag?

Yeah, definitely. One hundred percent. All the radio shows are archived permanently, so if people like my DJing — two shows a month isn’t really that much — they could very easily listen to everything that goes up on the Rinse site. I know most people won’t do that, but I would be disappointed in a DJ I rated if I downloaded two radio shows in a month and the selection was largely the same. There will be stuff that I play repeatedly, particularly stuff that I’m in a position to promote, where other people maybe aren’t — so new music from the UK — but generally I won’t play something more than two or three times because at the moment I don’t find it difficult to find music I like enough to want to play. I get bored easily — I like switching it up, and I like the idea that someone could see me play in London in January or whatever, and then come and see me six weeks later and see a completely different set. I want to give people a reason to keep listening to what I do. That doesn’t mean I value the records any less, it just means that I enjoy the spontaneity of DJing with a different record bag from night to night slightly more than sticking with the same thing.

I haven’t messed around with production enough to know whether or not this is true, but what I suspect to be the case is that with production, you spend a long time perfecting something, and it’s presumably hugely satisfying when this thing you’ve worked on for weeks or months gets played out and you get to see people react to it for the first time. But I really love that feedback system in clubs that I was talking about earlier, where you can feel people’s reactions more or less immediately, and constantly, and I think those moments of spontaneity and adaptability which I value so much are facilitated by having different record bags from night to night, and having a wider selection to draw on.

With all these Rinse shows archived, how do you then make something like a podcast or a mix CD stand on its own?

A Rinse set will be totally off the cuff from start to finish. I’ll be a little distracted by trying to interact with my listeners, which is something I think is really important. I think I’ve generated a fairly loyal audience, and I would guess that the level of interaction on the show is a big part of that. People know I’m reading what they say because I shout them out and I try to communicate with them. I like that feeling that anything can happen, and I think a lot of the best mixes come out when you’re just playing records and letting inspiration come to you. But it’s difficult to recreate that with a podcast, so I think quite carefully about each one I record. I try and make sure it flows as perfectly as possible, and I try to just make it something that would stand up to repeated listens. I don’t want to saturate the Internet with studio mixes, so when I record something like this I have to feel like it’s an accurate representation of what I do. I mean, in an ideal world I guess everyone would listen to each radio show really attentively and get really immersed in it, but realistically if someone wants to know whether or not to come and see you at a party, more often than not they’ll just Google your name and check out the first thing that comes to hand — in my case, that’s normally a podcast.

On the Rinse show and with Hessle Audio, you’re able to break a lot of music that gets sent to you, and you’ve also been able to introduce the bigger dubs of the day, such as “Sicko Cell” or “Swims.” How do you see your role in shaping what’s going on in this scene?

Most of the time I’m not able to predict what those big tracks are going to be, so I don’t approach playing a tune like “Getting Me Down” by Blawan or “Sicko Cell” any differently than I would any other unreleased track I get sent. If I like it, I play it. With “Getting Me Down,” I played it on radio and someone ripped it and put it on YouTube immediately. I try not to dwell too much on whether or not a tune is going to blow up like that, because a lot of the time it’s not really in the interest of the tune to get such a huge amount of hype before it’s been released, so I don’t consciously try to generate it. I guess I’m just lucky, because at the moment it feels like I’m still shaping my own personal project rather than any scene in particular. It’s almost like I’ve been able to more or less ignore it completely, and I know that doesn’t sound like a particularly charitable thing to say, especially considering the fact that I am into the scene that surrounds this music: I like the people involved and the people who listen to the music. We have a great audience, but I’m not consciously catering to anyone when I DJ.

On Twitter you’ve made much more explicit remarks about the politics involved in dance music — and in this scene in particular — than others. For example, you remarked on tracks going up on YouTube and the visual being akin to soft porn. Most people turn a blind eye toward these things, but what makes you speak up about it?

I wouldn’t say anything were it not for the fact that a certain amount of people follow me now. I didn’t consciously plan to generate that, but I think given that I’m potentially speaking to large amounts of people it’s worth speaking up about things I feel strongly about, and I don’t think those things are completely disconnected from the way people experience music at all. Music is a really integral part of the way people live, especially now. Dance music is about commonality, in essence, and about the way people interact with each other, so I don’t think it should be a surprise that people involved in that music should be interested in speaking out against things that they think are shit.

I hadn’t seen anyone mention those YouTube rips you’re talking about, and it was something I’d noticed happening more and more regularly. It felt absurd, given the places a lot of this music has borrowed from. It started a bit of discussion, which I think means it was hopefully a worthwhile thing to have done. Of course 140 characters isn’t a lot to express a detailed critique of “gender relations in post-dubstep,” and I definitely wouldn’t be the best person to do that even if it was; but it’s enough of a platform to start a conversation, even if I’m not capable of finishing it.

Do you think those conversations have really happened?

I think they’re in the process of happening. They’re not limited to music, by any means, but things like the article Angus [Finlayson] wrote in The Quietus is a direct result of all that. I’m wary of sounding self-important but it’s so easy to communicate now with the people who are listening to what you do. People are tweeting constantly, they’re on Facebook constantly, and people have access to so much information about the musicians they’re interested in that it doesn’t seem sensible to hold back. I’ll hold back information about what I’m having for lunch or whatever, but if I see examples of harmful, damaging stuff seeping its way into how the music I love is promoted or advertised, then why not talk about it?

Do you think that dance music has lost a bit of the political edge that it used to have?

It’s an interesting time — it seems like people are becoming politicized very quickly. Essentially, I think music’s political implications are shaped by the physical environment the music was made in and listened to and danced to. I think if things carry on going the way that they’re going in the UK at the moment, with massive youth unemployment and austerity cuts hitting education and welfare programs really, really hard… I would be surprised if music didn’t represent an outlet for people.

You’ve spoken before about context in how we digest music. How do you try to shape that for your listeners?

I see that as being the main function of a good DJ, to try and shape the context in which people listen and dance. What I would ideally like to be able to do as a DJ is what my favorite DJs did for me, which is to inform me about the music and to present that music in an exciting way. Like the jungle sets I heard by Randall [McNeil] in the mid-90s — they still blow my mind. With him, it was about the way he would pace his sets and the way he built them up. When I was starting to go out there was a DJ called Equinox who I used to see at Technicality a lot, and the energy with which he used to mix these crazy jungle records was totally infectious — it would help you really lose yourself. The experience of listening to those DJs played a big part in shaping the music I like now and the music I like to play. Maybe the potential DJs have to shape people’s tastes like that might have been lost, to an extent, with things like YouTube becoming such an integral part of the way people consume music. I hope it’s still possible — I still respond better to an exciting DJ than to a good playlist.

Lots of the guys who found their roots at FWD>> and DMZ, like you and your Hessle cohorts, Scuba, Peverelist, have been really embracing house in a big way for the past year or two. Why do you think that is?

This is going to sound funny, but it’s less to do with house music suddenly becoming awesome than it is to do with a desire to get away from what dubstep has become. For me that’s the case, anyway. I still have a lot of love for that music, and it’s still the defining influence in terms of music I play, but by and large it’s lost what it was that I was excited about in the first place. It’s become something quite different. Searching for that same feeling I got from listening to old dubstep records is what led me to play the kind of music I play now. A lot of people who were gradually losing interest in that music leapt quite quickly into listening to the emerging house scene in London and on the pirates around 2008/2009, and like a lot of other people I started listening to the music that people like Marcus Nasty and Mac 10 would DJ. They started playing this bass-heavy, stripped-back house music with MCs, which really felt like a part of the trajectory of London-based dance music, especially given that both of those guys used to DJ with grime crews.

You’ve said before that you see a lot of people around you making house music without much knowledge of the history. It seems like that’s sort of the position that you found yourself in. Can you expand on that a little bit?

I’ve talked about that before in the context of the producers making the sort of early UK funky stuff, people searching for an atmosphere they’d found previously in other musics and weren’t currently hearing, whether they’d been into grime or garage or whatever. For me, what made a lot of it exciting was the lack of reverence, I guess. Those producers revered other styles, but not necessarily house music, and I think it resulted in a lot of interesting ideas which might not have occurred to people who were so totally and completely immersed in house music.

That’s one of the great things about house; it’s this huge thing with an immense, enormous, rich history that it’s possible to get immersed in and consumed by. But when music inspires that kind of passion, it has the potential to kind of blinker you at the same time — to narrow your vision a bit. I would back that up by pointing towards the perfectly acceptable, but kind of unambitious, tributes to old Chicago house and Detroit house I see popping up in record shops every week. And so I guess that’s kind of what I was trying to get at: the fact that people were making exciting, interesting music, and the only perceived restriction they had was tempo.

I guess that comment was more relevant a few years ago because since then, a lot has changed. The connections to the house scene have strengthened a bit, and you can see that in the kind of line-ups I’m playing on now. I think it probably was more the case a few years ago because people were making music I would consider house music, but without any connection to the established scene at all — you know, without even the idea that DJs in that scene might play it, because there was community in London that was supporting the music. But yeah, things have definitely changed.

What’s your digging process like? Unlike older DJs, you’ve grown up with the Internet; how does that influence how you’re looking for records?

It just means I’m able to do it more or less constantly. I use Discogs and YouTube a lot, and that’s awesome, but I’m a shameless trainspotter at the same time — I’m always paying attention, trying to find the tracks I love that I’ve heard DJs playing. By and large that’s a lot more fun than using Discogs and YouTube. Interacting with other DJs I respect and having that level of personal interaction is really fun. I’m in the immensely privileged position that I get to travel a lot to play, and when I’m in a place for slightly longer, my go-to method for wasting a few hours is trying to find a record shop in town. I guess the only difference is that even when I don’t have a record shop to go to, I still feel able to just go onto the Internet and listen to tracks. And it never stops. Now that DJing is, like, a full-time thing, it means I can always be working. I can always be digging. I definitely feel like I should continue doing it as much as possible — I still have a lot to learn. There’s hundreds and thousands of records I’ve not heard yet.

Where is Hessle’s A&R mind at? For the most part, it seems kind of like a family affair, but the most recent 12?s by Peverelist and Objekt have been label debutst. Are you guys generally looking to expand your roster or expand the sonic identity of the label?

We’re not planning any radical changes in the way that we work. The release with Peverelist was something we’d been wanting to do for a really long time, and we’d actually asked to release a couple of tracks by him that ended up on his album. We’ve always loved what he’s done, and we felt a connection to what he does with Punch Drunk and what he does as a producer and DJ. It just felt like a natural thing to do, especially when those tracks came along, because they’re just so great. I’m really proud of that one. And with TJ [Hertz, aka Objekt], it was similar in that we got to know him a bit first. I think I met him in Berlin when me and Jackmaster played for Modeselektor, and he’d sent me the first couple of the white labels, which I was really, really into. It felt like a good thing to pick up “Cactus,” just because there wasn’t any obvious place for it other than Hessle.

By and large with the label we’ve always been keen to release stuff that might not have a comfortable home elsewhere, which is why, I guess, we’ve ended up releasing a lot of debut records. That is something I’m definitely keen to continue. I think the individuality of a record label comes through doing things that other labels might not want to do, or things that might not come naturally to other labels. I think the way the label works will remain constant. I hope so, anyway.

I can remember two periods where Hessle was pretty silent: late 2010 between Hessle 09 and 10, and then after 116 and Rising. Is it fair to say that you guys don’t really care a whole lot about release schedules?

Yeah, I think it’s probably fair to say that. We don’t really have a release schedule — we’ve never announced a release without first having a good test pressing for that release. The only exception to that being the compilation, because it was such a big project and we needed a slightly longer lead-in to do it justice. But it always wound me up immensely that labels would announce reams of really exciting-sounding stuff and then completely fail to follow through. That was a real problem in drum and bass. I remember labels announcing, like, seven releases over the course of an 18 month period, and then maybe getting around to releasing one of them. So we probably overcompensate for that by being fairly quiet. I think it’s worked in our favor.

The reason for the periods of silence that you mentioned would be that in 2009 we were planning double-packs by Kev and David, the first projects like that that we’d done, and we wanted to get them right. Similarly, in the second half of last year we had just released 116 & Rising, which was a huge project for us — putting it together, sorting out the artwork, trying to get it the attention that we felt it deserved.

I think as a label, because none of us rely on it for our income, we’re in a position to have a pause like that if we feel like it’s worth doing. I think it tends to have a negative effect on the way that music is consumed when labels have such a high turnover that things don’t get the attention they deserve. It’s a shame, but unfortunately the way music is presented does have an impact on the way it’s listened to. If single “xyz” on a label is released at the same time as two albums and three other singles, or in the same six week period or whatever, then it’s not going to be an event in the same way. That’s another thing that’s carried through from the days of going to FWD>> and DMZ I think. I remember the excitement of going to DMZ in three days but still not knowing what the line-up was going to be, or the thought that a new DMZ record was coming out in one day still having no idea what the tracks were going to be. It’s the same with all kinds of music, like, I get excited when a new Sound Signature record comes out and I’m not expecting it. Or when Honest Jon’s put something out and takes everyone by surprise. It’s amazing; it’s great, and it has an impact.

I think that all of the Hessle records are still in print except the first two. Is there a reason behind that?

I think that’s right, yeah. The main reason is that the metalwork for the first two records has been lost. We used to use a pressing plant based in Nottingham, and when they shut down in huge amounts of debt all of the metalwork that they had at the plant was sold for scrap — that’s what we were told anyway. We’d have to re-cut those records to get them repressed, and we just haven’t got around to doing it. It doesn’t really feel like a priority.

Having said that, you’re right; we do tend to keep most of our records available and in print, because it feels like a cop-out to me, running a vinyl record label and not making things available for the people who want to buy them. These days, when record buyers are few and far between, it feels like a mistake to press up a limited 200-copy record and then tell the Internet all about it, you know? To deliberately under-press a record seems so contrived and ungrateful given that there are comparatively so few people willing to spend money on a record now –- those who are left really care about it, so they deserve to be catered for I think. The first two Hessle records may not be available at the moment, but at the time, they were available to everyone that wanted them.

Skrillex won a Grammy; thoughts?

[laughs] Good for him. Yeah, I feel absolutely no connection to that music anymore. That’s just a successful musician winning an award. It’s cool.

What about him shouting out Croydon?

[laughs] That was really cool. That was really nice. I watched the video; it was pretty surreal. I don’t know how I’d feel if I was from Croydon, but probably pretty hyped. That’s probably the first time Croydon has been shouted out at an awards ceremony ever, so yeah, big up Skrillex.

Special Download

LA techno at its finest.

With the inception and subsequent rise of his Modularz imprint during 2011, you’ll perhaps forgive us for thinking that Developer was a newly emergent talent from LA’s burgeoning stable of techno producers. The truth is that Adrian Sandoval is about to mark his 20th anniversary as a DJ. Taking on all manner of odd (DJing) jobs and industry positions down the years, Sandoval began rudimentary experiments with loops at the end of the ’90s, but shelved his aspirations until he eventually picked things back up again in earnest within the last couple of years. It was worth the effort.Edificio, the maiden release on his Modularz label, suggested an artist that despite a solitary digital release two years previous, was nearing full formation. His dusky, tunnel-like techno evokes the grounds explored by fellow LA practitioner Silent Servant, although it feels as though Sandoval is just as comfortable to slow things down a touch and play with the off-beat. We suggest diving into his Entrada,Programma and Variations EP—all released through Modularz—for a better understanding of his standout approach.

Interestingly, Sandoval calls on just a handful of producers on his hour-long mix for us, imbuing RA.302 with a marked sense of coherence to go with his brilliantly restrained selections.

What have you been up to recently?

I’m in Berlin at the moment at the end of my third DJ tour in a year, establishing my label Modularz and recording as much as possible.

How and where was the mix recorded?

Two Technics turntables, Allen and Heath Xone 92 mixer, CDJ, Red Sound sampler and laptop with Traktor.

Can you tell us about the idea behind the mix?

Well, I rarely make mixes. I usually make one a year and use it for promotional purposes so the timing was great. I was approached by RA for a podcast and thought I’d like to do something different than my usual pounding 40 tracks per hour aggressive techno style. I wanted to make something much deeper than my norm, and incorporate turntables and vinyl-only tracks, as well as some unreleased material. I guess the mix is best described as something you would hear during my third hour in a five or six hour set.

You’ve been DJing since the early ’90s but are just gaining real international recognition. What do you put this down to?

It’s safe to say that it’s because of my music getting out. Period. This year marks my 20 year anniversary as a DJ. I have been around a long time and have gained a lot of unique experiences over the years. I have done the backyard DJ thing, the resident college radio gig, the record store clerk, the vinyl distribution job, the promoter, the event organizer and even the flyer designer. It’s evident that I have dedicated a large part of my life to the culture and I’ve defiantly paid my dues, even though I may have taken the long route to get here.

In the ’90s I only wanted to be a DJ and rock buildings. I never thought about producing because it was too expensive to buy all the analogue gear so I bought records instead. At the end of the ’90s I messed with loops and computers but some of my friends who had real analogue gear laughed at the idea so I just kept DJing instead. Over the last ten years I messed with loops and synths and it wasn’t until the last couple of years when I finally quit doing events, ended my day job, and stoppedtalking about what I wanted to do and instead started doing what I wanted to do!

Also being completely focused and driven as well as cutting distractions out. Easier said is that I just stopped listening to what the larger and more popular labels were doing and what is considered new these days and started listening to my favorite ’90s techno records, influencing myself and deciding to make my own version of where techno would be today, on my terms and my influences. So spending a lot of time finding my musical identity in my studio was the biggest and most important thing.

How would you asses the health of the LA techno scene at the moment?

The techno scene in Los Angeles is alive and well. It’s always been here since at least 1990—well, that’s when I found out about it. I have been lucky enough to see the techno scene change, evolve and re-invented quite a few times over the years by many groups and promoters, most of whom are no longer active. LA has had a long history of electronic music, starting with the electro scene in the mid-’80s with DJs like Egyptian Lover who was putting out music at same time as Detroit artist Juan Atkins’ Model 500 project. As well as the Latin freestyle or Latin disco scene, this eventually evolved into an acid house scene and eventually into deep house and techno.

It’s a solid reality on how the culture has become what it is today and that LA has had a real evolution of electronic dance music. Nowadays I feel the Droid family are doing most of the respectable techno events in LA, and the city has a wealth of active producers like Silent Servant, Truncate, Fanon Flowers, Drumcell, Santiago Salazar, as well as John Tejada and Raiz to name a few. The LA techno scene will continue to thrive and in my opinion, as someone who has traveled to many international cities, we have a huge music culture in general, solid art scene, great weather, amazing food and the city generates some of the most responsive and educated techno crowds in the world.

What are you up to next?

Currently I’m finishing up the next round of releases on Modularz, as well as my second release on my solo label Developer Archive. I have a film project in the works, as well as a release coming out this month on Semantica and later in the year I plan on touring in Europe again, as well as a tour in South America and Asia.

The label arm was launched in 2010 and immediately impacted on the network secured by GTC’s strong profile, setting up Meyer to garner an impressive set of reviews for his own productions. 2012 sees releases forthcoming from Meyer on Magda and Troy Pierce’s Items and Things label and Jennifer Cardini’s new project, Correspondant Music, who are hosting Room Two here, a week on Saturday. Meyer is in great company joining the mighty Abe Duque, Tomas More and Cardini herself and to celebrate he’s made this mix showing off his off kilter sounds that have received recognition over recent years.

His debut album, entitled ‘Crossed Paths’, will be released on Mote Evolver a month today and where his single releases met the dancefloor requirements of that format, his use of field recordings and synth manipulation have been explored on a deeper level, fully adopting the immersive potential of a longer format. Exclusively for you, we’ve been given a track of the former mode for you to download in high MP3 quality, plus we got to know more about the motivations and ideas behind Shifted’s output ahead of his Room Two performance here next weekend.

What brought you into the techno fold? You had quite a successful and sudden emergence last year…
Well, as a listener I had been into Techno for a long time. I had been growing disillusioned working within the scene I was involved with at the time and so started to experiment with working on a side project. The reactions to the first few Shifted releases really surprised me and this “side project” snowballed into my main focus quite quickly. To be honest it’s been fantastic and after almost a decade of putting out records I feel like I’m the most creatively satisfied I have ever been.

How did you link up with Mote Evolver for your first releases?
Actually I have fabric to thank for that, I met Heidy who is the label manager at Mote Evolver when she was working at the club in maybe 2005 or 2006. We spoke again sometime later and I told her about the Shifted project. I sent over maybe 10 or 15 tracks to her and Luke and after some going backwards and forward between us we put together my first EP for Mote Evolver at the start of last year.

The album for me feels softer and warmer in tone than your singles on Mote Evolver did you see the album as a different way to approach your compositions?
Definitely, being given this opportunity quite early on in my “career” if one can call it that, has been a real challenge but one I have really enjoyed. Every release I have done so far has been a snapshot of my approach and headspace at the time of writing. Even when putting together a 12″ release I like there to be a certain ebb and flow to it. Doing an LP is a way to delve even further into that. With the exception of maybe 2 slightly older tracks that were reworked, the majority of Crossed Paths was written over the course of maybe 3 months.

Mostly I wanted something that showcased my overall aesthetic when it comes to Shifted, with tracks that are more aimed at the dancefloor, more abstract moments and things that are really just experiments in texture. All of these things are very important to me, and I want to delve into each area with more focus in the future, but for this first album I wanted a cross section of styles. Hopefully still retaining a constant feel throughout.

Where do you source your sounds from? The record sounds like a lush mix of synths and possibly some field recordings in there for atmospherics…
My only rule for sourcing sounds is that I won’t use software synths. If you hear something synthetic in my music it’s generally been sampled from a hardware synth or from an old record, then processed. Field recording and natural sounds are also very important, using creative looping and filtering to find small grooves and textures from unexpected sources. There are also sound sources that I feel are almost fundamental to Techno, all the classic drum machine sounds that have become the backbone of the music.

Tell us a bit about your production techniques… Like are you approaching this music differently?
I’m not sure that my processes differ much from a lot of producers. I don’t feel like I am the best engineer, I listen to records by people like Luke Slater or James Ruskin for instance and feel very small indeed. I do however think that this raw and almost naive approach to production has almost become one of the things that make a Shifted record sound individual. I work fast and try to get the idea down as naturally as possible, if I force something it comes out sounding false to my ears. I guess I don’t have a lot of patience, this is sometimes my downfall but I have learned to embrace it to a certain extent.

On your Tumblr there’s strong aesthetic, a lot of gothic and bondage themed imagery – what’s your interest in this subject matter?
The images I choose are just things that catch my eye, I wouldn’t say that I focus more on gothic or bondage themed subject matter more than anything else really. Although perhaps I’m drawn to the latter on a very basic level.

Does the imagery link in with the music?
Not directly, but the whole reason for the blog is to create an atmosphere that is attached to what I do, and enforces the emotions a listener feels when exposed to the music. I think that music becomes so much more when it is combined with a visual medium, and in the future I’d like to tap into this more and work with moving images that are attached to a piece. This is also why I dislike this whole “Digital Only” thing, music should be something physical, the look and the feel of a record are essential to making it what it is.

Can you tell us more about your label Avian, what have you got planned for it this year?
Yes, myself and Ventress are going to be doubling our efforts as far as Avian goes this year. The next release is a collaborative project from two producers who won’t be named at this point, together with remixes from Ventress and Sigha. After that there will be the debut release from MPIA3, which has been getting a lot of attention already. I’ll also be doing an EP this year. As we’ll as some projects from friends of the label that are as yet unconfirmed. I’m also going to be doing a second Pacific Blue record.

Due to his strong musical background and a gifted sense of technological intuition, Drumcell keeps pushing the limits of his music and his gear continually as a way to develop his artistic expression. He is an innovator who blurs the lines between live performance and the traditional DJ set up, creating “a thick blend of acidic Techno and aggressive but funky minimalist groove”. He is a restless electronic music activist and firm believer in the power of Techno. Today he actually releases a brand new EP entitled “Split Structure EP” (CLR057), which he produced together with Brian Sanhaji for CLR.

Special Download

Floating Points is the recording alias of London-based DJ/composer/producer Sam Shepherd. If you’re already familiar with his work it’s likely that your access point was “Vacuum Boogie,” his irresistible 2009 track that despite its languid 116 beats per minute was among that year’s major cross-genre success stories. In understanding Shepherd’s approach to club music, it’s important to point out his background in jazz piano and composition. However, in this case we’re talking about far more than half-arsed Rhodes keys over a 4/4 kick. On tracks like “People’s Potential” the feeling was that a true dialogue had been struck up between the poles of Shepherd’s interests. 2011′s Shadows EP was as interesting an interpretation of club music you’re likely to hear. (And we thusly gave it a 5.)

Shepherd’s approach is also informed by his residency at London’s Plastic People and Eglo, the label he co-runs with Rinse FM’s Alexander Nut. (If you’re in London on Thursday evening, Eglo’s 3rd birthday celebration will definitely be worth a look.) In both cases he brings elements of soul, house, disco, techno and bass music to bear—and that’s exactly what you can expect from RA.301.

What have you been up to recently?

Getting ready for a live set at Fabric this Thursday for Eglo’s 3rd birthday. I have drum machine, synthesizers and pianos clocked up via a sequencer…hopefully it should work!

How and where was the mix recorded?

Two record players and a mixer, nothing fancy. Recorded in a room of my house which is a dangerous mess of records.

Can you tell us about the idea behind the mix?

Some of the sounds that emanate from the basement of 147 Curtain Road [Plastic People].

Has your DJ style always incorporated a cross-section of genres?

Yeah definitely. I get bored of too much of one thing.

What are up to next?

Been building a studio in London and once I’ve finished with my Ph.D. I should be about ready to record an album with an ensemble that I started a few years back. In the meantime I’m working with Fatima for an album, and experimenting with this live project.