The second volume of Black Quartz features a couple of favourites from the last couple of years and is available now for limited download and unlimited stream.01. Dedekind Cut – Tahoe [kranky]
02. Tim Hecker – This Life [sunblind music]
03. Dalhous – Methods Of Elan [Blackest Ever Black]
04. Huerco S – A Sea Of Love [Proibito]
05. HTRK – Give It Up [Ghostly International]
06. Rezzett – Worst Ever Contender [The Trilogy Tapes]
07. Laurel Halo – Chance Of Rain [Hyperdub]
08. Hashman Deejay – Mozaic [Future Times]
09. Lifted – Silver [PAN]
10. Dean Blunt, Inga Copeland – 8 [Hyperdub]
11. Anno Luz – Por Que [Music from Memory]
12. Carla dal Forno – Make Up Talk [Blackest Ever Black]
For the download, please subscribe to the newsletter.
On this very day, ten years ago, the first article on this blog was posted. And while the blog is no more, Nutriot lives on as a record label. In order to celebrate, we’re launching a new series of mixtapes called “Black Quartz”. Unlimited stream and limited download for all subscribers!
For the most observant of our long-time readers the name Abby Lee Tee might ring a bell. The Austrian producer hailing from the city of Linz has been making beats for a couple of years and most recently released an album title “By accident” with guest spots by Mieux, Affine-signed Wandl and Ritornell-collaborator Mimu Merz. What follows is an interview with the man, spiced up with snippets from his new record and lastly his guestmix.
First of all, can you start by introducing yourself?
I’m a musician (producer & DJ) living in Linz, a tiny town in Austria, despite being the country’s third-biggest city. Beside any kind of sound, records and odd instruments, I’m also in love with silence, visual arts, books, my cats & otters.
I always like to ask about two key moments: do you remember the first time that you responded to music and when was it clear to get involved in makingmusic?
One of my first memories concerning music is my mum listening to Santana’s Black Magic Woman. Also, my older brother used to listen to some nice jazz records back then. Later on I got in touch with hip hop, mainly through skateboarding, radio and music television. Soon after I bought my first turntables and became part of the hip hop group Hinterland, leading from there to music production and a growing interest in other genres.
Tell us about an ordinary day in your hometown, Linz. What’s the city like?
As it’s not the biggest city (about 200k inhabitants), there’s not too much distraction, which makes it a good place to work for me. But for it’s size, Linz also got a remarkably big (independent) art scene, nearly everyone knows each other after some years of living here and you see a lot of different people (from different genres) collaborating with each other. While you can enjoy the river Danube’s beaches and the woods just minutes away from the centre, it’s also only a short hop of a bit more than an hour by train to vienna. And I still find interesting music at the local (second-hand) record stores.
You run a night called “the future sound”, how did this come up and who’s playing at your parties?
Starting point was a night called “The Future Sound of Vienna” in 2010 with Dorian Concept. After that my friend F!no and I teamed up to continue cultivating this kind of sound with a monthly club night, which we’ve been doing for more than 5 years now, hosting artists such as Prefuse 73, Dimlite, Jeremy Ellis, Shigeto, Nosaj Thing, Floating Points, Flako an Julian Sartorius.
Your album “by accident” was just released. Tell us about the process and what it’s about.
While working on the album for the last 1.5 years I bought and tried to work with a lot of acoustic instruments. Besides, I’ve always been into field recordings. After using at least a couple of samples back in the days, I’m now completely stuck into using my own sounds only. The title “by accident” also refers to the more or less randomly layered field recordings, building the foundation of most of the tracks. Also, I’m pretty happy about the lovely collaborations with Wandl, Mimu, Mieux and GC (the latter being responsible for mix and mastering), plus the perfectly fitting visual concept (artwork, video, A/V-show) by System Jaquelinde!
And what’s next in music, is there any new work coming up?
Besides gigs and guestmixes, I’m back into making remixes , but really looking forward to use all the sounds I recorded during the last months preparing the release. And there’s a “by accident” remix-album in the making.
Lastly, tell us about the mix you recorded.
It’s a pretty wild mixture of stuff which inspired me while producing “by accident”, focusing on the more ambient and weird kind of records.
Subscribe (iTunes)01. Julian Sartorius – Tscholi
02. Kutin / Kindlinger / Kubisch / Godoy – Introspection
03. Sun Ra – Atlantis
04. Brainticket – Era Of Technology
05. Shaolin Afronauts – Abyssinian Suite Part 1
06. Slow Riffs – Gong Bath
07. Jar Moff – Commercial Mouth
08. Tim Hecker & Daniel Lopatin – Instrumental Tourist
09. Toju Kae – Buscheli
10. Mischmeister M – My Brain Is Mashed Eggs
11. Julian Sartorius – Huli
12. Abby Lee Tee – Efeu
13. LV – Quick Return
14. Holden – Self-playing Schmaltz
15. Flako – Gone (reprise)
16. White Noise – Love Without Sound
17. Dimlite – Zoo In Fluttering Red Pt. 1
18. Tim Hecker – Amps, Drugs, Harmonium
19. LV – Carillon
20. Ages – Chances (Abby Lee Tee Remix)
21. Zanshin – Esmeralda The Swift
22. Downliners Sekt – Hors Phase
23. Rolf Liebermann – Les Echanges
24. E.S.T. – Contorted
25. Sculpture – Unhitch Your Program
26. Soft Machine – Out-bloody-rageous
27. Fred Jüssi – Lahemaa Lindude Hääli
28. David Fanshawe – Tarka The Otter O.S.T.
29. Yatha Bhuta Jazz Combo – Untitled (Afrojazz)
30. Stereokonzert Der Vogelstimmen – ?
31. Alfred Klapper – Hirschbrunft
32. Dimlite – Stromausfall (interlude)
33. Electric Egypt – Kundalini
34. Prefuse 73 – The Last
You can stream the full Abby Lee Tee album on his Bandcamp page, find more of his music on SoundCloud, and if you want to stay up-to-date, follow him on Twitter or Facebook.
We have neglected our podcast series for way too long and are more than happy to bring it back with an interview and guestmix from Berlin-based Canadian Mike Davis, a young producer we got to know through his release on the Sector 12/12 label.
Hello Mike Davis. You released your first EP on Sector 12/12 last year and that’s pretty much everything I know about you. Why don’t you start introducing yourself to our readers?
Sure, I’m Mike, an unknown electronic musician, who moved from Toronto to Berlin in 2012 to study in the Humboldt University and also find out what electronic could really means to me. I was DJing in Toronto as part of a crew & party called the Deep North, and decided Berlin was where I’d like to grow musically, rather than wait (or hope) for a big release or something before coming here, like many artists do. The three year anniversary of my arrival was just the other day actually, and I’ve since finished studying, put out a couple records, a tape, and co-founded Carousel and a label of my own, Brenda.
How long have you been making tracks and how did that all come together on Baniza?
For only four or five years, maybe two years or less in a serious way, and even less in a relatively calculated way. Only recently have I developed a technique from which I can, to some degree, truly realize ideas. It terms of that coming together for Baniza, it exists early in that process, the tracks are all around two years old, experiments with limited resources and techniques, simply exploring sound and writing some music along the way. The alternate versions of all the tracks on the EP might better illustrate it, but the project is a mess. I think even my old computer failed at some point and I had to remake some of it, I was just pleased that Sector12/12 wanted to release it. It was completed after a bike journey from Berlin to Sofia. There I became acquainted with the baniza, a traditional Bulgarian pastry. It’s not really nice looking, quite messy, wants nothing but to fall apart, but tastes good… so I believe that EP is a baniza.
Do you remember what sparked your interest to make music?
It originated pretty early, I suppose due to my parents. They put me in piano lessons as a kid, and I remember making terrible music on my dad’s Yamaha CS01 and MR-10 drum machine maybe around 8 or 9 years old. High-school in the late 90s brought all that was 90s and my first guitar, a birthday present from my dad. In college I played drums and bass in some punk projects, but nothing too serious. Eventually I became disillusioned with bands. Between jamming and beer drinking, creating was often challenging, so I was drawn to electronic music. I could produce on my terms, ideas and execution are completely up to me, I like that.
Having moved from one continent to the other, how has that influenced your image about electronic music? Are there still that many differences in culture in this globalized world?
That’s difficult to answer, as the move was still quite early in this budding career, I suppose it played a more developmental role than an influential one. Berlin has shaped me more than Europe, outside of Toronto I’ve only played in Germany and France, so there’s still much I need to experience. The accessibility here in Berlin has continually been a motivator, being a more vibrant and tangible scene has made it easier to reconcile the energy input. It’s not just felt at parties… record shops, rehearsal spaces aren’t 90% rock bands, even the small bars and cafes have decks, [ebay] kleinanzeigen is full of gear, albums and events are advertised in public transit, it’s hard not to feel it being part of the social fabric.
What are you future plans for the record labels and your own music in general, is there anything we can look out for?
Well Owen and I are currently working out details for CRSL002, hopefully will be out in 2015. We’re at the same time growing Carousel into a record shop which will soon be operational as an online shop, with the plan to go physical once it makes sense. It will be carefully curated music, nothing we plan to take over the scene with, of course. The second Brenda record, another 12″ from CNCPT, just came out a few weeks ago and I believe is pretty much sold out everywhere it was available, which is good. The third will also come out before the year is over. Personally, I’ve got a couple of collaborative projects actually. One with Owen on his other label Shades later this year, and another with part of my Deep North family Dan (as Jerry Riggs), I’m in on two tracks on his upcoming Run Out Run release.
Tell us about the mix you made
Yeah, as you know, it was not the first one I sent you, but the delay between recording and releasing had me always tiring of what I recorded. Anyway what I’ve settled on are some recent finds and some older stuff selected spontaneously while recording. Nothing so deeply planned, very Baniza.
Download | Subscribe (iTunes)01. Michael Holman – Gauntlet of Wriggly’s
02. Steve Moore – Logotone
03. Burnt Friedman & Jaki Liebezeit – 124 0 09 (played at 33rpm)
04. Chra – Landmine
05. Dorisburg – Splade
06. Devianza – I Droni A Torvijanica
07. Vakula – Life Internal Sounds
08. Green Gums – Zozomono
09. Beat Detectives – Somethin’s Rippin
10. Bookworms – Exotic Auto Boutique
11. Broken English Club – Glass
12. Mistake Made – Loaded Memory
13. Charlie – Spacer Woman
14. Hiver – Vorticism
15. Obtane – Tericore
16. Johan Hansson – Vassvik
17. Jatoma – Helix
18. Roll The Dice meets Pole – Echo Hands (played at 33rpm)
19. Lena Platonos – Love in Summer
20. Moon B – Moments in Slank
It’s been a while since our last podcast, but the connection between this and the previous one are tighter than the 9 months gap might suggest. We stay in Turkey and we’re happy to have another female guestmixer: Istanbul-based producer, DJ and radio programmer biblo.
Having been in love with music for as long as she remembers, biblo started playing in several bands before turning towards solo production. Now in her seventh year as biblo, she can look back at a RBMA participation and three albums released on several labels. I first stumbled across her music through Brazilian producer Pazes, before picking up her last record Moved–a record that gets better the more it wears out, as the crackles are a complement to her eerie sounds.
A new album is set for a release in early 2014, followed by several remixes for befriended producers, and–hopefully—a collaborative album with ambient producer Wolf Maps.
Asked about her podcast, biblo calls it an “organically evolving mix which can be listened and enjoyed while working, sleeping, travelling, reading, mourning and making love. For all those quiet but condensed, focused moments in life.”
Download | Subscribe (iTunes)
01. John Coltrane – Psalm
02. Slow Walkers – Precession
03. Ricardo Donoso – Reflection & Rotation
04. Roll the Dice – Calling All Workers
05. Oneohtrix Point Never – He She
06. [ B O L T ] – Song 2 (biblo Remix)
07. Huerco S – ‘Iińzhiid
08. JK Flesh / Prurient – I Understand You
09. Jefre Cantu-Ledesma – Roam the Milky Way (feat. Ekin Fil)
10. Delia Gonzalez & Gavin Russom – Rise
11. Roly Porter – Giant
12. Pyramids/Horseback – A Throne Without a King pt. 2
You can find biblo in all corners of her internet, I’d start by checking out her SoundCloud and Bandcamp profiles, needless to say she also has a Facebook page. You can tune into her radio show every Sunday on 12.00 EEST (GMT+2) or listen to previous shows on Mixcloud. And lastly: If you enjoyed the mix above, make sure to check out her contributions for RBMA Radio as well!
Back in 2009, we actually wanted to launch this very podcast with a mix from a female producer, but after many delays it unfortunately never materialized. 17 episodes in and we are very proud to announce a mix from one of our favourites: Turkish singer, producer, DJ and radio presenter Ahu. She has worked with the likes of Flying Lotus (as Dolly), Grooveman Spot, Mr Beatnick or Emanative, in 2010 One-Handed Music released her wonderful solo debut, and next on the list will hopefully be her first long player. It was her Vida Ahu Nova! mixtape for Brainfeeder that made us become a fan of her musical selection and eventually lead to this new episode.
Listen | Download | Subscribe (iTunes)01. Elis Regina – Eu preciso aprender a ser só
02. Orlandivo – Palladium
03. Trio Mocotó – Eu Tou Por Fora da Jogada
04. Cassiano – Me Chame Atenção
05. Lady Zu – Não Deu em Nada
06. Leny Andrade – Sou O Amor, Faço A Vida
07. Célia – Detalhes
08. Marília Medalha – Xaxado de Espantar Tristeza
09. Marcos Valle – Berenice
10. João Donato – Cadê Jodel?
11. Doris Monteiro – Pra Não Padecer
Like previous by Gerry Read or B-Ju, our all new podcast aims at the dancefloor. It was mixed by Londoner-based Lokiboi, who you might know from his collaborations with Klic or his excellent Rinse FM mix. Read an interview, download the mix and enjoy the music.
Can you please introduce yourself and tell us what you do outside of music?
My full name is Vladimir Strabykin and I am a Moscow-born producer from London. I moved to London at the age of 8 and since then I’ve been exploring the British culture. I am currently doing my last year at South Bank University and I am writing my dissertation on early disco culture.
Do you know that book by Tim Lawrence? He wrote about the American dance music culture of the seventies.
Yes, most of my references are from there. Actually from two books, You Better Work! and Love Saves The Day.
What made you decide to write your dissertation on disco?
I study Music and Sonic media and since I got on the course I’ve been learning about House culture. On my last year I decided to go even deeper, to the days before House existed. It’s like a beginning of everything for me, it’s like being in love but not really understanding why it’s happening.
Was house music of the nineties that got you into producing?
Funnily enough, it all started with Dubstep for me, that was my starting point. Material from around 2006-2009, the Mary Anne-Hobbs show on BBC Radio 1 [sends a YouTube link] played massive role on my understanding of genres. Even these days I find it incredibly inspirational.
So you haven’t really been making music for that long?
No, not really. I use to play in bands when I was like 14, I played the drums. It all started with the drums.
Are you still connected Russia, your country of birth? What do you make of the rising music-scene over there?
I am going back to Moscow all the time. We recently did a party there, it was absolutely great vibes. The scene is definitely rising in Moscow, things are popping off very quickly. Mujuice is great, personally I think he is one of the top Russian lads, but also people like OL and Lapti.
The first stuff I heard from you were collaborations with Klic, how did that come about? Klic, now also known as Medlar, I’ve met him at university. Straight away he was the only person in class whose sound I was digging. We had similar views and started exploring House and Disco music together. Straight away we did remix swaps and collaborations. We worked together on the Won’t EP on Top Billin and more recently we had a 12-inch on Kolour Records.
What have you been working on lately, is there any new music coming out?
Yeah, I am currently working on few tunes with Citizen. I also have an EP coming out on R1 Ryder, two tunes and two remixes.
Listen | Download | Subscribe (iTunes)01. FCL – It’s You (Charles McCloud & Vin Sol Remix)
02. Maddslinky – Compuphonic
04. Randomer – Get Yourself Together
05. Shadow Child & James Talk – Comb Over
06. Kolombo & Loulou Players – Don’t Go Away (Zombie Disco Squad Remix)
07. Claude VonStroke – Chimps (Re-Edit)
08. Coat Of Arms – Is This Something
09. Mosca – Murderous
10. Motor City Drum Ensemble – Raw Cuts 3
11. Lung & Maxx Roach – Booty Call (Randomer Remix)
12. Classixx – Into The Valley (Julio Bashmore Remix)
14. Dusky – Flo Jam
It’s been almost two years since we first heard about Huess (pronounced like guess), but now the producer from the British West Country returns with his third release on Inaudible Answer, titled Discards. Two of its tracks can be heard on the mix below, and they’re in good company with music by Kelpe, Om Unit, Clams Casino and others.
Listen | Download | Subscribe (iTunes)01. Kelpe – I Felt Fuzzy (Huess Felt No Pain Remix)
02. Beak> – Barrow Gurney
03. Faust – Untitled
04. Om Unit x Daedelus – Vous Etes Stereo (Om Unit Refix)
05. Huess – Not Afraid
06. Joey Bada$$ feat. Capital Steez – Killuminati
07. 813 – Bibabo
08. Echo Park – Brighta Daze
09. Chic – 26
10. Clams Casino – Never Understand (instrumental)
11. Squadda B – Never Understand
12. Kone – Uncivilized
13. Aquadrop – Mare Tranquillitatis
14. Slime – Anni
15. Royalty feat. Kissey – Eroica (Elliott Yorke Remix)
16. Kelpe – Double Punt
17. Huess – How Close Do You Think is Appropriate? (Big Mister Doom Remix)
For more music by Huess check out his discography on Bandcamp page, and make sure to follow him on SoundCloud.
Much has happened since we gave away B-Ju’s Dog Day EP in 2010, the first vinyl to come out on the Italo-German Error Broadcast label. Since the young producer from Hamburg released Prozac People last year (also on Error Broadcast), there has been a notable shift from electronic hip-hop beats to London-flavoured house sounds. The latest examples of his sound can be found on releases from Squelch & Clap and No Brainer.
So who is this B-Ju guy?
I’m a producer and DJ of electronic music, currently living in Hamburg, Germany. Besides music I work as a copywriter for advertising which is as boring as it sounds. I also read poets and hug trees.
What’s your first memory of music and how did you end up making music yourself?
The first thing I remember was the full music video of Thriller by Michael Jackson. I guess this memory had more to do with the fact that I was shitting myself than enjoying the music. When I first saw Mr. Len juggling his coloured records in Co-Flows „End to End Burners“ I wanted to become a DJ. Sounds like the beginning of a fairy tale, huh?!
More recently, there has been a change in your sound. Just one of the many sides of B-Ju?
I always heard and made music of different genres. My Dancing in your head record by Ornette Coleman is next to Ludacris’ What’s your fantasy, which isn’t contradictory to me. Even if the intellectual range is monolithic.
There is now a generation of producers that was influenced by videogame sounds, do you feel like a part of that?
I’m a kid of the 8-bit generation too, but I always were a ousider when it came to videogames. All of my friends owned Nintendo consoles, I was the only one with a Sega Mega Drive. But I wouldn’t say that sounds of the videogames influenced my music a lot even if you can hear some of them on my Dog Day EP. I think that most producers build on 8-bit sounds too much. That’s the reason why I never could relate to a genre that is defined by that specific sound.
You don’t see it often that producers release different styles under the same name. Was that a conscious decision?
Yes, it was a decision out of laziness. Promo-wise it’s probably not the best thing to release different styles of music under the same name. I still get messages from promoters like „Oh, I didn’t know that you doing club music now“. But I also start to realize that it seems to be to exhausting for people to stick to one genre. You are not a weirdo anymore if you like artists like Blawan and Shlohmo at the same. I think people are more honest about their own taste nowadays.
What are you up to next?
I’m doing some remixes and I want to release this strange record I’m working on right now. Don’t know when or where. Collabs are also planned, but I can’t say much about that right now. Playing live is a big issue for me, since a lot of people asked me about that. The thing is: I don’t want to be one of those „I trigger my tracks in Ableton, press the play button and add some random lazer effects“-musicians. That’s the reason why I want to take my time to build a live-routine.
How did you choose tracks for the mix?
When I record a mix I mostly try to choose tracks that I wouldn’t play in a club. For this particular mix I mainly took slow and deep house tracks that have a slight Hip-Hop twist. I like the idea of doing a coherent mix that listeners of all kind of genres could relate to.
It feels weird when you talk to a someone who wouldn’t reveal much about himself, but then I understand an artist’s motive to speak only through the music, as it lets one listen without prejudice. Our latest podcast comes from such an individual: The Reboot Joy Confession. Following several releases on Soulphiction’s Philpot Records, he recently released his debut album Absolute III Way Harmonious Enterprise on the same label. The album is one of the few these days that’s not afraid to cross boundaries, and I recommend to anyone who’s not afraid to discover something new or different.
As for the mix, it’s not as exclusive as we usually keep it. It’s been aired on radio a couple of weeks ago, but to extend the circle of listeners we got the permission to make it part of our podcast series.
It’s a bit of a flowery phrase, but I guess Munich-based Jay Scarlett tastemaker really shouldn’t need an introduction. Together with Cinnaman, he has released the seminal Beat Dimensions compilations and is regarded by many as the ambassador for beat music. Under the name of Ampsoul Generation, he presents new artists on a blog and radio-show, and for a short time he has been operating the Ubeat label.
We asked Jay to play some of his favourite tracks of the moment and asked him a handful of questions on the scene and the state of Beat Dimensions.
Can you describe what the scene was like at the time you released the first Beat Dimensions? What was your motivation to do so?
The motivation behind the project was simply try to tap into a demographic of producers that weren’t getting their music out to the world because of various reason mainly the confidence level or the path to release it.
Were you surprised how this kind of music took off on a worldwide scale? what has changed?
Surprise yes in terms of how well it was received & how many people were actually looking for a new change in the scene i think these were some of the reason it did quite well on reception.
These days every blog releases its own beat compilation, but unfortunately they often mistake quantity with quality, there seems to be no curation at all. What are your opinions on that?
I agree with the quantity over quality but like most things you find a path to work and the quality purposely gets better with the understanding of whats expected.
That said, are there any plans for another Beat Dimensions and what will be the challenge?
Beat Dimensions has been laid to rest for the present. Partially because the individual ethos might have changed & the necessity to want to continue might be placed somewhere else.
Listen | Download | Subscribe (iTunes)01. Tensei – 100 Ton Press
02. Swindle – Do The Jazz
03. Eprom – Regis Chillbin (Machinedrum Remix)
04. Eloq – Fruitsy Collins
05. Débruit – Ata
06. Barrington Levy – Vibes Is Right (Om Unit Edit)
07. Joker & Ginz – Purple City (Danny Scrilla Refix)
08. Dibia$e – Some Act Right
09. Midnight Davis – Haze
10. Dza – Finger Snaps (Shigeto Remix)
11. Eloq – Last Night A Random Girl
12. Herma Puma – Pokerface (Lopez Remix)
13. Houseshoes feat. Jimetta Rose – Castles
14. Hazeem – Cosmic Healer
15. Tensei – Passport
16. Kindness – House
17. Ghostface Killah – Mighty Deadly (4di Remix)
18. Om Unit X Daedelus – Vous Etes Stereo
19. SirOj – Natalie Portman
20. Illum Sphere – An Old Escape (Kill Them Kill) (Dabyre Remix)
21. Bee Gees – Love You Inside Out
22. Oh No & Doom – 3 Dollars
23. Just-Ice – Cold Getting Dumb
24. Leo Sunship – Give Me The Sunshine (mini – tro
25. Vessel – Standard
26. Throwing Snow & Py – Wallow (Lapalux Remix)
27. Herma Puma – Jollys (Ariya vs The Ones Edit)
28. The Mahavishnu Orchestra – Power Of Love (Om Unit Edit)
We hope you enjoy this little mix by Jay Scarlett. To stay connected on his activities, find him on Twitter, SoundCloud and Mixcloud.
It’s been a while since we last had a podcast and we’re very happy to announce this new one by London’s K15, a good friend and very talented producer. We’ll start with an interview and you can listen to a selection of his tunes, and you can listen to the wonderful mix he came up with at the bottom of this page.
What is your first memory of music and what got you into making music yourself?
Music was kinda always in my house, from my mum and my dad. But then I guess it would’ve been in my teenage years, when I was listening a lot of jungle and a lot of drum’n’bass. And I was just in awe of everything produced at the time, drum programming and samples. It was only when I got older when I realized what sampling actually was and where they were taking their sounds from. But that whole thing really got to me. So I used to go to school and I did music as a GCSE. There was a teacher, he had a copy of Cubase, and I tried to make drum’n’bass tracks and they were simply awful by any standard. But that’s when I realized this is fun, but I need to find a way to do it at some stage. And I didn’t do any music in terms of production stuff for years. Then software kinda got better and someone introduced me to Reason. I was listening to a lot of rap music and obviously to people like Jay Dee, Madlib, Hi-Tek, Pete Rock, 88-Keys, all of those guys. I thought I need to try and do this, so it was just years of figuring out ways to create music and not just listening to albums, but studying them, watching interviews, reading interviews. It was around that time, that I realized that actually that is something that’s gonna stick with me for a period of time.
How old were you at the time?
The jungle stuff would’ve been about 13/14 and I was DJing at the time aswell, or learning to DJ and buying records. The production stuff would’ve been 2001, so eleven years ago which is a long period of time to do anything. Some years later, here I am, still the same in my room doing music, buying records.
Give us an insight to the gear you use, do you prefer hardware or software?
I use this guys here, this is an MPC2000XL, so I used that but a lot of it has been software, only because software is kind of easier to get ideas down. Because I attempt to play keyboards and stuff, I have more of a range of sounds in software than I do in my MPC. So just out of convenience, software tends to be my go-to platform. But I’m still very much of a keen MPC advocate and I do still use it from time to time. Sonically, to me my MPC always sounds ten times more intense in terms of the drums than any software I’ve ever used. It just has that raw audio quality, whereas a lot of the sounds in the software I use is heavily compressed before you even do anything. The MPC has an edge to me in terms in sound.
I know you have an incredibly wide range of interest when it comes to music, how does this affect your own production?
I wanted to sound like what I heard as great music, so I wanted to really get my boombap sample stuff tight and for ages I did nothing but focus on that. And then I discovered guys like 4hero and Domu and instantly I thought, hang on a second, there are other rhythms that I could try to do. The rap/soul has always been what I’ve been striving to do, but then over the years I’ve made a lot of house music, a lot of ambient music, and a lot of weird techno type of music. I think it’s because I’m interested in a lot of types of music, is why I don’t just make one thing. I’m literally just finishing an EP and a lot of that is house-ish or dance-ish type music. I’m into all kind of music, so at some stage I’m gonna attempt to butcher a genre and do something with it man [laughs]
You first told me about your EP way back, but it only came out recently. What took you so long?
[laughs] You know what, that EP was meant to come out some years ago and it didn’t, which is fine. I think I’m slightly choosy about what I tend to put out in any way. It just kinda came when it was ready. So that came through WotNot, which is a label in London that put out very amazing modern electronic type of music. One of the guys who is behind it all, I met him over Twitter, met him for a coffee and he’s just the most delightful person. He was always interested in my music, I sent him some bits and he thought cool, let’s do this. I think the way labels work now, or this particular label, is just interest in people, who have a passion for music, different types of music, who come together and want to be part of something. They’re really cool guys, encouraging me to do more stuff. That was fun, it [Theme Music For A Pariah] came out in March of this year.
You must have made a lot of new music since you first finished that EP…
Yeah, I pretty much do music every day. So I get up, go to work, I come home and when come home I go to work again, it’s just music. Music gets made more or less every day. There are two projects that I just finished, two EPs that I’ve done, I’m just trying to get the artwork sorted for that. There’s another project called Culross Close, which is like a band, but it’s like a weird imaginary band, so all the different parts are played by musicians, but all the musicians are just figments of my imaginations. Or maybe they’re all me, I don’t know. There’s a lot of different types of music waiting to come out.
Any good shows you’ve seen recently?
The last week was kind of crazy, I saw the Robert Glasper Experience on Monday. Dude, that was insaaaaaaaane, insane! They played for like three hours, Bilal was there, Lalah Hathaway was there as a guest vocalist. I’ve seen Robert Glasper too many times, I don’t even count, but that show, the size and the feel of it was just magnificent. To see the diversity in his audience that he has now, on the back of this one album, ridiculous. Then on Wednesday I saw Thundercat at Fabric, he’s always a good guy to see, because he just noodles on the bass for ages. Then I saw Kaidi Tatham again on Thursday. I’m going to the Watch The Throne show tomorrow. Lots and lots of shows have been happening and I’m checking out some parties as well. There’s a record label, Eglo, and they have parties every so often and I go and see those guys DJ. There’s Swamp 81 that put good parties on as well and I need to spend some more time there. And the WotNot guys had massive party in conjuction with Lunice and that was a really big thing. This Thursday the WotNot guys are doing a Ustream and there’ll be a group of us DJing, telling jokes and doing some readings from Oscar Wilde.
Any good records you’ve been buying recently?
I bought a pianist called Vijay Iyer, he got a new album out called Accelerando, one of the tracks off the album is on the mix. I’ve been buying a lot of deep house stuff, a lot of Glenn Underground, some old house records, some Kenny Dope and Louie Vega stuff. And a lot of classical stuff as well. Stravinsky, Debussy, Sibelius, just lots of random stuff which is always kinda crazy to listen to, cause you play that and then you sit back at your computer to try and make something and you’re just humbled for like a week. You realize, just stop this, this is what music is supposed to sound like, this is serious.
And lastly, what kind of records did you pick for the mix?
There’s a little bit of everything. I buy a lot of records and initially I used to buy just to sample and then I realized I actually like a lot of the stuff I was buying, so now I just buy music because I enjoy playing records and pretending to DJ every now and again. So on the mix there’s some Larry Heard, some Jessica Williams, Jean Grae, Marcellus Pittman, lots and lots of different records that I bought in the last few months. There was probably an expectation that I was just gonna play hip hop music or electronic instrumental music. I’m into everything, so I tried to keep it as varied as possible and throw the odd Steve Reich loop in there just for the fun. Lots of good music, songs I generally play in my spare time and enjoy listening to.
Listen | Download | Subscribe (iTunes)01. Vijay Iver Trio – The star of a story
02. Happy The Man – Upon The Rainbow
03. Larry Heard – Missing you
04. Omar S & Kai Alice – Jive Time (unreleased beats)
05. Zed Bias – Music Deep Inside
06. Bicep – Stripper
07. N’n’G – I Keep
08. Marcellus Pittman – Razz09
09. Glenn Underground – Chicago Theme
10. Steve Reich – Come out
11. Claus Ogermann Orchestra – Caprice
12. Isotope – Attila
13. Jean Grae – Love Song
14. Camp Lo – Luchini (aka This Is It)
15. The Roots – Concerto of the Desperado (instrumental)
16. Steve Spacek – Peep Live Show
17. Jessica Williams – Return To The Portal of Antrim
Only a couple of days after our 3rd anniversary (previous claims were based on a rounding error), here is our tenth podcast mixed Austrian duo by Ritornell. The Austrian duo consists of Roman Gerold and Richard Eigner. If you haven’t heard their debut album Golden Solitude on Karaoke Kalk, you should’ve run across their stellar remix for Misel Quitno or maybe Dorian Concept’s remix of The Light, which featured Ninja Tune’s Andreya Triana on vocals.
Together they run their own label Wald Entertainment, and Richard also played the drums on Flying Lotus’ Cosmogramma and the last Dimlite EP. With the latter he also performed live on several occasions, you might remember this video of Kalimba Lifeswamp.
For this mixtape, they chose music from their Karaoke Kalk mates, a brand new remix for Abby Lee Tee and some of their favorites.
Listen | Download | Subscribe (iTunes)01. Static – Motobecane
02. Abby Lee Tee – Morning Scene (Ritornell Rework)
03. Memotone – Eating The Sun
04. Origamibiro – Quad Time (Leafcutter John Remix)
05. Radiohead – Seperator (Four Tet Remix)
06. Fourcolor – Skating Azure
07. Tied And Tickled Trio & Billy Hart – The End Is The Same As The Beginning
08. Ricardo Villalobos & Max Loderbauer – Reshadub
09. Klaus – Pim
10. Cleptoclectics – Mix Vertically
11. Populous – Clap Like Breeze
12. (Secret Track)
13. One Little Plane – Rise
14. Fennesz – Reshift
Ritornell are currently working on their second album, as well as on an audiovisual interpretation of Nobel prize winner Elfriede Jelinek‘s play “MACHT NICHTS – Eine Kleine Trilogie des Todes”. Both are set for a release next year.
Around the time when our last podcast came out, UK’s Gerry Read released his debut on the Dark Arx label. That was quite some time ago and since then Gerry’s interested shifted from deep, techy dubstep to straight house music. Like on his last mixtape, Gerry continue to shows his love for house on this guestmix.
We decided against an interview this time, but if you want to find out more, Sonic Router and Get Some talked to the man a while ago.
While Gerry Read has a page on SoundCloud page, you will have to visit Dark Arx and Live Ones to hear some of his music. His forthcoming 12-inch will be released through the new Ramp Recordings sublabel Fourth Wave, snippets of that just went online.
On the occasion of his latest release, the Chocolate Money EP, London based producer Kelpe sat down with us for an interview and contributed to our podcast series. Listen to some of his current favourites, music from his peers and some of his own productions.
Listen | Download | Subscribe (iTunes)01. Arp – Summer Girl
02. Dunian – Where is The Problem
03. Ichiro – Sumiyoshi
04. Prefuse 73 – Invigorate
05. Huess – A Simple Method (Beats)
06. Young Montana – Bad Day
07. DZA & Mujuice – Bullseye (Dizz1 Instrumental Remix)
08. Ghost Mutt – Sasquatch (Coco Bryce Remix)
09. All These Fingers – So Serial
10. Kelpe – Chocolate Money
11. Melkeveien vs. Nino – Yo! (Slugabed Remix)
12. Pixelord – Hypnofrog
13. Clause Four – Original Whackoff
14. Space Dimension Controller – 2EZ (Autopilots Lament)
15. Architeq – Into The Cosmos (Mr Beatnick Dub)
16. Dabrye – Smoking The Edge
17. Light Club – Scirocco Night Drive
18. Huess – I’d Rather Be The Hunter (Kelpe Remix)
You can listen to more of Kelpe’s own productions on his SoundCloud page, watch videos and download mixes from his own website. Or follow his activities on Twitter and Facebook.