electronic directory » Features

2011: a year in techno

Kazuumi — Wed, 21 Dec 2011 08:00:13 +0000

Here’s our list of our favourite singles, albums and labels of 2011.

10 singles:

10 albums/compilations:

3 labels:

Rush Hour
Delsin
Clone

2010: a year in techno

Kazuumi — Thu, 23 Dec 2010 15:00:21 +0000

Here’s our list of our favourite singles, albums and labels of 2010. It’s been a great year for music.

20 singles:

DJ Bone – My Sunday [Sect Records]
Sunday Morning is the best track of the year.
Will Sessions – Kindred [The Few Records]
Best Detroit record of the year.
Jolka – Five [Sect Records]
Five is a magic number, yes it is, it’s a magic number.
Space Dimension Controller – Temporary Thrillz [R&S Records]
Hieroglyphic Being – The Mysteries Of Life [Mathematics Plus]
Best Chicago record of the year.
Bvdub – A Silent Reign [Styrax Records]
Vince Watson – Love In F Minor [Everysoul]
Best Scottish record of the year.
Conforce – Grace EP [Delsin]
Best Dutch record of the year.
Urban Tribe – Loyal Opposition [Planet E]
Fabrice Lig – Digital Forest [R&S Records]
Best Belgian record of the year.
Iamthatiam – The Invisible Children EP [Fit Sound]
Spitzer – Roller Coaster EP [Infiné]
Space Dimension Controller – Journey To The Core Of The Unknown Sphere [Royal Oak]
Agoria – Grande Torino [Infiné]
Future Beat Alliance – Machines Can Help EP [Tresor]
Chymera, Dreamrunner [Outpost]
Grovskopa – Made Tomorrow [Sect Records]
Morphosis, Running Out [M>O>S Recordings]
Carlos Nilmmns – The BBQ (Edit 2) [Don't Stop]
D-Knox – Looking Through Your Eyes [Sect Records]

10 albums/compilations:

The Black Dog – Music for Real Airports [Soma]
Best album of the year.
A Guy Called Gerald – Tronic Jazz The Berlin Sessions [Laboratory Instinct]
Fabrice Lig – Genesis Of A Deep Sound [Fine Art Recordings]
Danton Eeprom – Yes Is More [Infiné]
Best French record of the year.
Urban Tribe – Urban Tribe [Mahogani Music]
Shed – The Traveller [Ostgut Ton]
Best German record of the year.
Darkstar – North [Hyperdub]
Best British record of the year.
Hatikvah – Synchronicity [Soma]
Various – Ninja Tune XX [Ninja Tune]
Martyn – Fabric 50 [Fabric Records]

5 labels:

Sect Records
Best label of the year. Everything they do is on the money.
R&S Records
Soma
Slam’s imprint is back on form.
Infiné
Delsin / Ann Aimee

aux 88 interview

Kazuumi — Sun, 24 Jan 2010 15:30:03 +0000

Aux 88 are set to release a new EP entitled "Black Tokyo" in February.

Aux 88 have always remained true to their roots of the music, having forged a particularly distinctive and original musical style, thus managing to avoid being identified with any particular scene. Deeply rooted yet always futuristic, their sound is as relevant today as it has ever been — it displays a confidence and maturity few contemporary techno producers can match — there is no doubt that Aux 88 have defined themselves as two of the key players in the development of electronic music as we know it today.

Electronic Directory caught up with Keith Tucker and Tommy Hamilton to find out about the project, the plans for Puzzlebox Records.

Interview with Keith Tucker and Tommy Hamilton by Kazuumi Ishii

How did the idea for the Black Tokyo project come about ?

The project has been kicked about for about 4 years.

The mental transformation from Aux 88 to Mad Scientist set events into motion that converted the mad scientist mental circuitry in to two unique entities.

Using smaller more adaptable nano circuitry to create new electronic synthesis from the original Aux Voice and mind. Black Tokyo are visionist, scientist, and mental programmers on the teachings of Electronic sound. Black Tokyo have assembled some of the world’s most advanced Technology and software to create new devices of electronic sounds. Aux 88 have been under surveillance for years by others who have sought to learn if the two Aux 88 Members are indeed the same entities the mad scientist or are have they indeed transformed into Black Tokyo. The two men have ventured into their 4/4 techno world Black Tokyo.

You guys have reemerged as Arashi Hoshino and Shin Muramatsu. Where did these characters come from and why ?

The character names where picked from from various Japanese films we grew up watching some names are actors from various films and TV shows like Ultraman.

Is there a concept behind the project at all ?

The concept is new 4/4 techno and electro from the the high fashion and business world of Aux 88 enterprises……more news to come.

Why now for 4/4 ? What has influenced you this time around ?

We have always did 4/4 music under various other alter ego’s Optic Nerve, Alien FM. We are gearing up to bringing a hi energy visual live act that moves a event like when we play electro venues. We have always been able to play 4/4 and electro where ever we play.

Can you explain a little bit about the title ?

Black Tokyo :::: is our new entrepreneur, hi tech, hi fashion alter ego and business alter ego… Lots of suprises to come

What else have you guys got on the horizon for 2010 ?

There will be 2 to 3 12"s of the Black Tokyo entity and a full length CD… Also Aux 88 Mad Scientist remix 12"s full tour to follow Black Tokyo

Puzzlebox will release Aux 88′s "Black Tokyo" this February

Tracklisting

A1. Dragon Fly
A2. Groove Theory
B1. Black Rain
B2. Tokyo Drive

Puzzlebox’s DJ Xed pulls together an Aux 88 megamix

~~Download the mix here~~. This Aux 88 Megamix has been archived and is currently not available.

Tracklisting

01. Aux 88 – Mad Scientist Intro [Puzzlebox Records]
02. Aux 88 – Voice Modulation [Puzzlebox Records]
03. Aux 88 – Time Portal [Puzzlebox Records]
04. Aux 88 – Detroit Non Stop [Submerge Recordings]
05. Aux 88 – Alias [Puzzlebox Records]
06. Aux 88 – K-1 Theme [Submerge Recordings]
07. Aux 88 – Control Panels [Puzzlebox Records]
08. Aux 88 – Annihilating The Rhythm [Puzzlebox Records]
09. Aux 88 – We Are The Future [Submerge Recordings]
10. Aux 88 – Exsterterestrial Time Travelers [Puzzlebox Records]
11. Aux 88 – Electronic Robots [Puzzlebox Records]
12. Aux 88 – Mad Scientist [Puzzlebox Records]
13. Aux 88 – Alien Bounce [Puzzlebox Records]
14. Aux 88 – Rated A-U-X [Submerge Recordings]
15. Aux 88 – Lost In Outer Space [Submerge Recordings]
16. Aux 88 – Parallel Universe [Puzzlebox Records]
17. Aux 88 – Interstellar Flight Theme [Puzzlebox Records]
18. Aux 88 – Space Satellites [Puzzlebox Records]
19. Aux 88 – We Make Beats [Submerge Recordings]
20. Aux 88 – My A.U.X. Mind (2005) [Submerge Recordings]
21. Aux 88 – E-Theory [Puzzlebox Records]
22. Aux 88 – Free Fall [Puzzlebox Records]
23. Aux 88 – Mad Scientist Outro [Puzzlebox Records]

compuphonic launches union match music

Kazuumi — Fri, 18 Dec 2009 14:00:23 +0000

Belgian producer Compuphonic has just launched his own label, Union Match Music.

Maxime Firket, aka Compuphonic, has made a name for himself with his colourful sets and his powerful releases including "Emotion EP" on Turbo Recordings, he now makes his firsty foray into the realm of house with his own label, Union Match Music. The first release comes courtesy of Fabrice Lig, Spirit Catcher, Kolombo, Ante Perry and Compuphonic himself, and it’s already been caned by illustrious DJs like Laurent Garnier and Charles Webster.

Electronic Directory caught up with Maxime Firket and Bastien Braconnier to find out more about the new Union Match imprint.

Interview with Maxime Firket and Bastien Braconnier by Kazuumi Ishii

Why are you calling the label Union Match Music ?

Originally, Union Match is a Swedish (formerly Belgian) brand of matches. We chose this name for a few raisons. First, it reminds of Belgium’s motto: "L’Union fait la force", in French. Which means in English something like "United we stand" or "Unity is strength". This motto fits perfectly with the spirit of the label: we want to bind a team made of close producer friends who respect each other and are willing to work with one another. Plus, it’s also a very positive way to face the record and economic crisis. Faced to that crisis, Union Match’s artists stand united. All UM artists are great producers; by making them collaborate we create some sort of increase in value. Thanks to those collabs the work of each other is sublimated into something bigger. Thus, if "Union" refers to Belgium’s motto, "Match" refers to the collaboration aspect, which is essential. Union Match Music is about collaborations. You can see it as the Belgian answer to the record crisis.

From house to techno and everything in between, with outputs ranging from funky and upbeat to deep and ethereal, your label relishes eclecticism in any form.

There are several words to describe Union Match’s spirit. Two of them are essential: eclecticism and quality; quality because the productions must be impeccable; eclecticism because we want something colorful. We don’t want to be restricted to one form. If club music is about dancing, Union Match is about dancing and feeling. Making people dance is pretty easy. The overused "kick, snare, kick, snare" combo automatically makes people want to move their heads. It’s a reflex, it’s almost tribal. Creating deep emotions is another story. It’s more complex kick + snare is not enough. The artist has to be in a particular state of mind. Union Match Music is in part a matter of emotions. You can almost tell the artist’s state of mind, if he is happy, in a good mood or depressed just by listening to his compositions. We’re looking for producers who run that way. Starting from there we’re not looking for a specific style. The big demarcations – like techno, house, electro – tend to make no sense anymore. Our arms are wide open to any tracks that make us feel something, gives us thrill. Sometimes it’s simply joy. Sometimes it’s gloom. Pictures have to come to our mind. Union Match’s sound is like looking through the window while the plane pierces the clouds to reach the bride blue sky. Sometimes it’s more like a parachute jump. Dancing and feeling. That combination is pretty hard to reach. We are proud to sign artists that are capable of making killer tracks and emotional music. All mixed with quality. It’s Union Match’s contribution to house music. From the powerful emotional Compuphonic’s "Sequoia" to the perfectly-produced electro storm "Placid Corporation" by Spirit Catcher (Deadline mix), that’s Union Match’s definition of eclecticism.

How is the house scene in Belgium ?

Belgium’s House scene is very much alive. Belgium has never been really a pioneer as far as House music is concerned. Still, that little country has always been passionate about this kind of music. In the late 90′s and in the early 00′s, I was very much inspired by House producers like Swirl-People, Koenie (and his "Wally’s Groove World" label) and Charles Schillings. Nowadays, artists such as Maxim Lany and Red-D are doing a very interesting job. And of course all the Union Match’s artists ! Belgium is probably no pioneer but it’s a source of highly quality producers !

What do you have planned after the first release ?

The first 12" "four tracks" vinyl has just been released on December 14th and the digital "10 tracks" release will be out on January 1st. Our next step ? Remixes, parties, radio shows, etc. For now, we’re putting all our energy into the first release. We have already received many interesting tracks and are still looking for more. That’s all we can tell for now but we keep you posted !

Get "Union Match 1" here:

www.unionmatchmusic.be

vince watson label launches – vince watson interview

Kazuumi — Fri, 11 Dec 2009 14:00:18 +0000

The veteran Scottish DJ/producer Vince Watson is set to launch his new Everysoul imprint with his sixth studio album.

Vince Watson really needs no introduction. He’s had more than a decade of releases, including five albums, on a host of big and small labels. More recently he’s put out his second Planet E EP and he’s also has taken control of his music by relaunching his Bio imprint.

Electronic Directory caught up with Vince Watson to find out about his new Everysoul label, his forthcoming album and what he’s up to at the moment.

Interview with Vince Watson by Kazuumi Ishii

Where are you at musically and mentally in 2009 ?

Musically I’m focusing now on getting the music I’ve been making for 18 months out to labels and most importantly the people who support me. I’ve not been as prolific in the last 18 months for many reasons, but I’ve been producing like crazy :-) Mentally I’m going even more nuts than usual :-) I’m relocating to Amsterdam so my studio and records are packed away at the moment, but the main thin on my mind is feeding some musicianship into the world we have become of mindless unsoulful music. There’s way to much diluting of quality thanks to digital formats allowing most people to set up a label and release music…which is fine in principle, but a lot of artists just use preset sounds from plug-ins. The end result, copycat tracks and a lot of music sounding sooo similar that it’s getting hard to really find something different or daring. Most labels now also do not take risks, instead they sit comfortable releasing the same stuff over and over again. It’s not a general rule so there is still a lot to get excited about, but man, you gotta look for it !!

I hear that you’ve decided to restart your Bio imprint after a hiatus of 4 years. What made you decide to restart the label ?

Simple answer is that I want to get all my music out there, and not relying on other labels. I’ve got so much music that people have not heard yet, some of it I play live, and I’m always getting questions, reactions about it all…so the time has come to start again. Initially it will only be digital though, moving to vinyl when I am in the right position to do it. All the previous material will be available on vinyl to order through a new webstore I am setting up for all my music. I’m really looking forward to it…and judging by the initial reaction, so are many people so the time feels right. There’s 3 releases ready to go, one featuring a Funk D’Void remix.

You’re also set to launch your new label called "Everysoul", right ? Can you tell us a little bit about the new label ? Why is the label called Everysoul ? What does that mean for you ? I know there was an album planned for FCommunications, entitled Everysoul Needs A Guide.

It’s about soul and all its guises. I think it’s really important to remind ourselves of the music’s qualities, sometimes we get lost and the quality goes down. I really respect artists like Glenn Underground, Cinematic Orchestra or soundtrack producer Cliff Martinez so that should give you an insight into where I’m going with this label…so that should give House, Jazz, Broken-beats….I’ve always had desires to have this kind of label since my Alola/Ibadan days, but I’ve never been able to until now. I’m very much looking forward to getting this music out there. I have 3 releases ready to go, including my 6th studio album.

"Spectrum" was the codename for the album, but the album is called "Every Soul Needs A Guide". Fcom do not exist anymore so the album fell through and I was very disappointed, as was Laurent as he absolutely loves the finished album. Real shame for them, really positive for me! I changed the album massively since the original idea, so its basically a whole new project.

That brings me onto the next question. You just released your second single, "My Desire", on Planet E, a fantastic epic interpretation of Carl Craig/69 "Desire". How did you come up with the idea for that remix ? Was there any particular thing you were trying to do with that ?

"Desire" was such a beautiful track (except for those portmento bits that are sore in your ears haha)… I definitely did not want to remix it. It started life as an interpretation of Carl’s track, which I was going to send him, along with a version of "Icon" to Derrick May, which isn’t finished yet ! The more I worked on it the more I started to really like it, but it wasn’t until I played the piano piece that it made me think I had something really special. I sent it to Carl, and he loved it. I’ve been using more and more organic sounding instruments in my music so it seemed nice to fit "Qualia" on the flipside, they went well together. I’m very very pleased that "My Desire" did not sound like a remix, it sounded like me, but it had influences all over it from "Desire".

Speaking of your Alola/Ibadan days, it’s now been ten years since the release of "Mystical Rhythm". What is the story behind that classic track ?

It’s called that because when I made it I didn’t know if I should laugh or cry, it’s very melancholic and gives you different moods and emotions in different parts of the track. Even back then I was trying to bridge soulful sounds into club music.

How do you explain the persistent motivation for a fusion of electronic and jazz, which isn’t really anything new ?

It’s timeless music. 99% of the new music we see and hear getting released now has a shelf life, mostly as it sounds so similar….not enough is standing out enough to be different or original enough. What I’m fusing isn’t new of course, but it has so much more scope to be energetic, expressive and above all else musical, which is what it should be all about. Listening to tracky minimal club music for hours and hours can become tedious. When I’m playing live I play as much musicality as possible.

I recently heard a live recording of your set from Shanghai. I was blown away by the intensity and the depth and of course the beauty that is in that set. You are very musical. So, guys like the Cinematic Orchestra and Carl Craig had performed live shows with live musicians. Are there plans to play in a band/group with musicians ?

Absolutely ! It’s always been a target of mines from very early on. I’m actually planning to have an orchestra recreate my music fully. I know Jeff Mills did it on Blue Potential, but to me that was art as such, I’m looking at scoring my music properly to make it sound really like the real thing. I will work with collaborators on future projects, session musicians etc, but I’m not ready for that yet. It will come though…

When you play live shows like that, who will be in charge of what in that orchestra ? You nomally play live using Ableton and a TR-909, but, will you be performing live with synthesizers ? Jeff Mills played a drum machine, with a 24ch mixer, two CD players plus a DJ mixer… No laptops involved.

NOOO !!! I don’t intend to use any electronic instruments at all whatsoever….I’m talking about an Orchestra only ! I won’t be doing anything other than writing the score for it, and directing it. I’ll leave the conducting to a professional :-) I actually have no interest I’m making my music the way Mills has, it doesn’t really work for me. The Kindred Spirits Orchestra did a version of Strings of Life during 5 Days Off…but it could have been sooo much better if they had just kept it to organic instruments instead of using drum machines. I like to think that the soundscapes in my music are perfect for scoring, taking away the percussion and working on the melodies and various parts.

Going back to the new label, tell us a little more about your studio album. How did you approach the album ? What it’s sounding like ?

The album originated as my Fcom album, but sadly Fcom went down, so I was left with an unfinished project. In the end I changed it drastically and it’s almost a new album, focusing on Lounge/Jazz/Broken-beats/Ambient and Classical pieces. There is no dancefloor music on this. It’s a very special project for me, a real challenge creatively to make this a full project, and it was a long hard struggle at times, and at other times it was exhilarating…It’s the most comprehensive collection of musical pieces I’ve ever put together and I really pushed myself further than before. I’m delighted with the mastered album and I’m really looking forward to giving this to the world in the new year.

Will you be putting out other artists’ material or just your own productions ?

I’m very much open for music from other artists. I am keeping my policy of Quality over Quantity so I’m not going to be releasing music every 2 weeks…I have so much music to release, so a lot of it will be my own also.

What else is coming up for you in the next few months ?

I’m going through a phase of remix requests for some reason…I usually do just 2 or 3 remixes a year, but I’ve done 5 in the last 6 months and have 4 in my inbox waiting to finish. Aside from relaunching Bio and launching Everysoul, I’ve also got another Planet E single in production. Finally I’ll also be following up ‘The eMotion Sequence’ on Delsin with a new album. I’m also about to finish the next shows on Red Bull Music Acadamy Radio.

Finally, what 1 thing would make your life better now ?

More promotors and club owners taking more risks with music they are hosting and not just playing safe with the current hyped up names. If I cant get that, then I’ll say a 6 month residency in Tokyo again…… :-)

The new Vince Watson single, "A Very Different World", OUT NOW

Vince Watson serves up two simply beautiful, vaguely epic deep techno tracks. Funk D’Void supplies a couple of gorgeous "A Very Different World" mixes.

Tracklisting:

01. A Very Different World (Original mix)
02. Otherworldy
03. A Very Different World (Funk D’Void Epic remix)
04. A Very Different World (Funk D’Void remix 2)
05. A Very Different World (Funk D’Void Radio edit)

Get "A Very Different World" here:

www.vincewatson.co.uk

ecdr podcast 22 – jolka aka luka baumann

Kazuumi — Mon, 30 Nov 2009 13:00:19 +0000

Electronic Directory teams up with Sect Records for label partnership series. In celebration of the release of Sect 6 – "The Jolka Experience", the first installment comes from Jolka aka Luka Baumann.

Over the last 5 years Luka Baumann has been making a name for himself with releases on Emergence Records, his own label PSNZ and most recently Sect Records. Collaborating with his partner in crime Grovskopa and as a duo, they produce their own original productions with a darker and harder edge. While producing hard-hitting, industrial techno, he’s also got the deeper side of things under his Jolka guise.

Electronic Directory caught up with Luka Baumann for a chat.

Interview with Luka Baumann by Kazuumi Ishii

What have you been up to lately ?

Watching a lot of Star Trek: Enterprise. Had a lot of catching up to do, kinda didn’t like them the first time, thought it wasn’t true to the original. Don’t know what I was thinking, they are great actually. So unfair they stopped airing it after 4th season. On a more serious note, just finished setting up a broadcast studio facility with a friend, which was a very big project. Been out of the loop with everything and everyone for quite a while.

Where and how was the mix made ?

Friday night with a few friends, some wine spritzers and a record button.

Can you tell us a little about the mix ?

I wanted to mix here music that is regularly in my player. Some of the tracks are older and some are new. I start with my remix for Davor O on Matrix Detroit and a bit more melodic stuff further down the road. It gets a bit hypnotic in the middle, but towards the end things get pretty deep, especially with Petar Dundov’s remix for Homeboy. The last few tracks make the mix a bit groovier again, samey feeling as those at the beginning. Last one by Grovskopa is pretty addictive, don’t you think ? Stunning vocals and melodies, really loving it.

How is electronic music in Croatia these days ?

There are quite a few artists that have emerged on the scene in the last few years and are making pretty good music. Nothing different than in any other European country I guess.

A new club has opened doors not even a year ago, ‘Sirup’, dedicated to electronic music, which is the first such specialized club opened in Zagreb, maybe even Croatia, I believe. Good sound system, nice people, steady amount of good music, week in, week out.

So, let’s go back in time. Who were the first DJs that caught your ear when you were growing up with electronic music ?

I remember when I first started making electronic music, the concept of a DJ was something I wasn’t quite familiar with. Quite strange, when i think about it now. I had these recorded radio shows tapes I would listen to, didn’t have a clue there were clubs that were playing this kind of music, internet was something I heard it existed and none of my friends were into what I was into musically at that time. I started clubbing and connecting with people, discovering new music. I hooked up on house music and drum’n'bass at first, a bit later I discovered Techno – Oscar Mulero, Surgeon, Jeff Mills, Autechre etc. It was really exciting discovering new music like that, step by step. Great times.

Your music is definitely louder, more industrial, and very abstract… How has Birmingham stuff influenced your sound ?

It’s been a great influence for me, most definitely. Mick Harris, Surgeon, Regis, Makaton and the rest of the gang. Very honest and real music. It shared the aesthetics of Futurism, that I was really into at the time. Besides that, I early started consuming extreme and a bit more obscure music. NON, Haus Arafna, Current 93, Nurse With Wound, Coil…that sort of thing. The whole ethos of that kind of music made me feel at home and it was only natural to go down that path with my own work.

You’ve been working a lot with Mika Hallbaeck [Grovskopa], has he been a particular influence ?

We run Emergence Records together and have been collaborating on few different projects. We think alike, not only in musical terms, but also on a more general level. He has always been a great source of inspiration for me.

How do you produce together ?

We did a project or two together in studio, but most of our work was made remotely, since we actually reside on different sides of Europe. Either him or me start something, an idea and send it to the other side. Project gets bounced back and forth few times, tracks change shape throughout the whole process. We talk about it, suggest to each other what should be changed or what sounds good. Usually the one who started the song, gets to arrange it.

What was it like working together in the studio ? Do you have any stories you can share ?

No funny stories, sorry. We are dead fucking serious guys.

So how did your Jolka project come about ? That first single "The Jolka Experience" for Sect Records was much more deeper stuff, not as industrial as you would maybe do under your own name.

It’s a different mindset. Human being is capable of so many different emotions and Jolka is me embracing this notion. I have learned how to deal with life in a way that is much more beneficial for my psyche and this whole new persona started to grow in me. Music that started to come out of me felt different and sounded different. It was not intentional, it just sort of happened. That was always very important to me – to not force anything I do. If I can’t write music for 6 months, that is perfectly fine with me. It certainly doesn’t feel nice to have a creative block, but when I start writing again, I need that feeling of freedom, with nothing imposing it. I’ve been struggling for a while, there was a lot of different projects I wanted to do, but that just made my focus dissipate and in the end it felt like hitting a brick wall, but Jolka made me feel free again and I am really, really enjoying myself making music after a great while.

Do you have any guilty musical pleasures ?

You know it. Just the other night, neighbors were having a party with some loud MTV music, I was this close to get up on my feet, crash the party and show them some secret dance moves of mine. Stayed in bed, tapping the foot in rhythm though.

What/who do you think about when you’re making music ?

Best music happens when you are induced in this trance-like state of the mind. No thoughts whatsoever. This is when I know I am doing it right. So, no there isn’t any thought process involved, except when dealing with the engineering side of the things, which is actually right there from the start. A bit of a paradox. Creative and technical parts are so interleaved in Techno music, you cannot simply close your eyes, push few buttons and get carried away, which is actually all there should be to making music.

First you have to learn everything there is to know about technology, that you are so comfortable with it and able to use it intuitively. It is the same as with learning how to play any traditional instrument, but once you learn how to play that electric guitar good enough, I bet there is no greater rush other than getting on stage and playing that solo (except maybe dropping that 808 kick on top of warmest bass line evar :-) ).

How did your Jolka release end up on Sect Records ?

Thomas approached Mika and me when he was setting up the label. After the first release we did together as Brethren, we started talking about each doing his own, since Thomas handled things so professionally and we developed a good relationship with him. I showed Thomas Jolka stuff and he was hooked immediately.

What is it about the Sect ethos that you’re into ?

It’s about mutual respect and communication between an artist and a label.

Finally, after the release of The Jolka Experience, what projects are you looking forward to in the future ?

Definitely working on more Jolka music. Few friends suggested we do some sort of collaboration too. That is something I look forward to. Preparing a new EP on Sect, followed by remixes. More on that when the time comes. At the moment, I am working on a remix for Inigo Kennedy on Rodz Konez label.

Jolka to release The Jolka Experience

Jolka – The Jolka Experience [Sect]

Croatian techno producer Luka Baumann has been serving up experimental beats since 2004 and here he shows his deeper side with this lovely effort on Sect Records. Inception takes its strength from a solid bassline and steady beats and lush chords while Arcus does the business courtesy of dubbed out chords. Covection is a brilliant chord driven workout and Dreamful produces an all over warm feeling, courtesy of sweet synths and a pulsing bassline.

Tracklisting: Jolka – The Jolka Experience

Sect Records will release The Jolka Experience on December 6th 2009.

Download Electronic Directory 22 Jolka aka Luka Baumann Podcast

Direct download here or Subscribe to the podcast

Tracklisting

01. Davor O. – Transitional Objects (Jolka remix) [Matrix]
02. Shed – Shot Selection 2 [Soloaction]
03. Quince – Space Time [Delsin]
04. G-Man – Tinge [Defrag]
05. A Guy Called Gerald – First Try [K7!]
06. Quince – Wires [Music Man]
07. Redshape – 2010 [Delsin]
08. Marcel Dettmann – Plain [Beatstreet]
09. Jolka – Convection [Sect]
10. Sterac – Rond [Delsin]
11. Homeboy – Sunrise (Petar Dundov remix) [Home Made Electronica]
12. Subotic – Fushicho [NightVision]
13. Paul Mac – Influenced 2 [Stimulus]
14. Grovskopa – Even If You Try (Version) [unreleased]

Download older podcasts below

the year in techno

Kazuumi — Sat, 28 Nov 2009 16:00:58 +0000

Here’s the list of our favourite singles, remixes and albums of 2009.

20 singles:

Niko Marks – Voice Box Detroit [Subject Detroit]
Another record which is growing more and more essential as the days go by.
Agoria – Libellules [Infiné Music]
Chymera – Sumatra [Figure]
Davor – Transitional Objects Remixes [Matrix]
Deetron – Zircon / Orange [Music Man]
DJ Bone – Encounter 002 [Bastardo Electrico]
Erica LaFay – Rain (Special Vinyl Only Edition) [Wallshaker Music]
Fabrice Lig – Cosmic Booty [MVSICA]
Jeroen Search – Figure SPC A (1, 2 & 3) [Figure SPC]
Jolka – The Jolka Experience [Sect]
Kirk Degiorgio – Mass [ART]
Mick Welch – Morphological Construct EP [Elektrosouls]
Orlando Voorn – Power Of Beauty [Divine]
Quince – My Life’s Rhythm [Delsin]
Shake – Levitate Venice [Morphine]
Trish Van Eynde – Subject Belgium [Subject Detroit]
Various – El Quinto EP [Ican Productions]
Various – Union Match 1 [Union Match Music]
Vince Watson – My Desire [Planet E]
Wax – No 20002 [Wax]

10 remixes:

10 albums/compilations:

20 years in techno – alton miller and abdul haqq

Kazuumi — Thu, 26 Nov 2009 15:30:23 +0000

Following on from the success of last spring’s "Technanomicron" tour, Alton Miller and Abdul Haqq will be returning to Japan next month for a number of dates.

Alton Miller is one of the original founders of the Detroit Music Institute and it’s been 20 years now since the club closed its doors, while Abdul Haqq has been drawing and sculpting to techno music for two decades now, doing artwork for labels such as Transmat, Planet E and Underground Resistance. To mark the 20th anniversary, they’ll be touring together, playing dates together in Nagano, Tokyo (at La Fabrique), Kyoto, Yamaguchi, Gifu and Kanagawa.

Electronic Directory caught up with Alton Miller and Abdul Haqq to chat about their upcoming Japanese tour and how they’re planning to celebrate their anniversary.

Interview with Alton Miller and Abdul Haqq by Kazuumi Ishii

Congratulations on the 20th anniversary. What are you guys doing to celebrate ?

Alton Miller: Thanks alot and we’re going to have as much fun as we can. The appreciation and the support we get from Japan is just incredible.

Abdul Haqq: The first thing I’m doing is celebrating my anniversary in Japan. It is also the ten year anniversary of me coming to Japan. I’ve had the most success here than any other place including my own country. So that is the reason that I wanted to celebrate it by doing this tour with Alton. We plan a series of parties, with live painting and I maybe even painting a mural or 2.

Looking back 20 years on, what are your highlights ?

Miller: First and foremost the music institute for sure. Every weekend in that joint was a highlight. Being involved in what has become a global phenomenon in regards to the music and the culture was and is a big plus for us to say the least.

Haqq: My best highlights have usually been through my travels. I have been able to travel to many places because of my career. Some of my highlights are:

1. The 1st time I came to Japan in 1999
2. The 1st time I went to the Philippines in 1999
3. My 1st exhibition in Tokyo in 2002
4. Visiting Gakoenji Temple for the 1st time
5. The 1st Eddie Fowlkes tour of Japan in December of 2007
6. Meeting and interviewing Jeff Mills for my Technanomicron project
7. Live painting with Jeff Mills May 2009

Those are just some of the few highlights. I’m sure there are more that I will think of after I send this.

You guys had toured Japan together this year. How did the [Technanomicron] tour go ?

Miller: I reached out to Haqq because I had heard he had toured with Eddie Fowlkes prior and that the tour went really great. We put it together with the quickness.

Haqq: The Technanomicron tour last spring in Japan was a great success ! Each party was wonderful and I got a lot of respect from many cities throughout Japan. Shizuoka was especially wonderful and successful !

What can we expect from your upcoming tour ?

Miller: Lots and lots of great music and art. We are really looking forward to it and we really enjoy being able to fuse what we do together to create a really really pure and enlightening experience both musically and visually.

Haqq: I think I will try to some new things with my paintings. Maybe make them a bit more intricate and elaborate and with more of a science fantasy theme. I may even have a chance to play some records at a few parties in Japan too !

Alton Miller & Abdul Haqq Tour Dates

Dec 4. – Loft Exclusive, Loft, Nagano
Dec 5. – World Spin, La Fabrique, Tokyo
Dec 11. – Detroit Soul Underground, Kyoto, Shavaliva
Dec 12. – People, Yamaguchi
Dec 18. – Emeralda, Gifu
Dec 19. – Sick, DJ Bar Shell, Kanagawa

featured label w.a.r.m.t.h. international inc.

Kazuumi — Mon, 16 Nov 2009 17:00:32 +0000

W.A.R.M.T.H. is the organization run by Detroit’s own Aaron-Carl, hosting a weekly Internet radio show "The W.A.R.M.T.H. Sessions" and organizing its own events.

The organization is set to host a Thanksgiving Eve event at Club Oslo. For this event, they’ll be bringing out a diverse selection of some of the Detroit’s hottest electronic artists.

Aaron-Carl speaks to Electronic Directory about his W.A.R.M.T.H. organization, the upcoming Preservation event and future plans for the organization. We then caught up with fellow Detroit DJ Bone, who will be playing alongside Aaron, to ask a few questions about the W.A.R.M.T.H. and how he prepares for the event.

Interview with Aaron-Carl by Kazuumi Ishii

You’ve said on your Facebook page that "There’s just something SPECIAL about Electronic Music from Detroit." What’s been happening lately ? How’s Detroit ?

Detroit is doing what we do best… We’re behind the scenes, working tirelessly and preparing to hit the music world HARD — all over again…

Can you tell us a bit about W.A.R.M.T.H. ? What was the initial idea behind the W.A.R.M.T.H. organization ?

W.A.R.M.T.H. is an acronym that stands for "We Are Revolutionizing the Movement of Techno & House." Our mission is to honor the ones who have paved the way, reclaim our scene — contrary to what you may have heard, Detroit is NOT finished yet — and preserve the history and legacy of Detroit Electronic Music.

Why W.A.R.M.T.H. now ?

I feel like our scene needs rejuvenation. Our music has impacted the world for many years, but here in our own back yard, we don’t appreciate it. Some of the newer generation doesn’t even KNOW about it ! By creating awareness, people will realize that some of today’s most innovative electronic music DJs & producers are either FROM Detroit, IN Detroit, or heavily influenced BY Detroit. It’s something to be proud of…

You are hosting an W.A.R.M.T.H. event later this month. What can we expect from that ?

You can definitely expect a mind-blowing experience, that’s for sure! We carefully selected a lineup to showcase Detroit’s diversity and spirit at its best. We are capturing the essence of what makes Detroit so special in the first place. We’re defying stereotypes, but most importantly, we are RAISING THE BAR. Believe me when I say that Detroit has DJs & producers that can tear some of these international "icons" a new asshole. That’s exactly what we plan to do at this event !

W.A.R.M.T.H. International Inc. presents PRESERVATION – NOVEMBER 25, 2009

You have some quality acts lined up for the W.A.R.M.T.H. events. DJ Bone, John Collins and Quentin Harris will be playing at that event. Did you select them personally for the night ?

Yes, I did. Quentin needs no introduction — he’s fabulous ! John Collins was one of the main DJs to get me hooked on House music. DJ Bone is paying homage to his roots by preparing a special House set for the night. We each have our own signature styles, but there’s a certain "something" that bonds us together. It’s hard to put it into words, but it will be evident at this event.

Are there any plans to hold any residencies on weekends ?

Absolutely — and that’s just the beginning…

Interview with DJ Bone by Kazuumi Ishii

Preservation is the second W.A.R.M.T.H. event, and you played there during last year’s DEMF weekend. What is it that keeps bringing you back to the W.A.R.M.T.H. events ?

The W.A.R.M.T.H. movement means a great deal to the preservation and revitalization of Detroit Electronic music and it’s champions. I haven’t played in Detroit much since I left my residency at Motor years ago. Since then, there’s been a lack of club owners willing to allow Detroit artists to do anything in their venues that isn’t commercial. I’m not one for just complaining without doing something to make a situation better. I’ve always tried to actively be part of the solution to what’s wrong in Detroit, inside and outside of the city !

How do you prepare for such an event ?

This is going to be a unique opportunity for me to play a House set again, so I’m very excited ! To prepare I’m going to fill my record box with all of the hottest records (past, present and unreleased) I have. Then it’s all up to me to rock the party. I’m definitely on a mission for this event.

Any last words before you play at the Preservation event ?

Preservation is only the beginning. All I can say is watch for more from W.A.R.M.T.H., DJ Bone and Subject Detroit.

W.A.R.M.T.H. to play Thanksgiving Eve in Detroit

Wednesday, November 25, 2009

Club Oslo, Detroit | Doors open at 9pm | $10 before midnight / $15 after

QUENTIN HARRIS
AARON-CARL
DJ BONE
ERIC JOHNSON
TINK THOMAS
KARL LUCAS
DJ JOHN COLLINS

Tickets are now available to purchase from the W.A.R.M.T.H. website.

W.A.R.M.T.H. will release its first compilation later this year. Named "Preservation: The Past, Present & Future" it will feature new and exclusive tracks. The compilation features tracks by Aaron-Carl, DJ Bone, Gary Martin, Scan 7 and Mad Mike Banks amongst others. The compilation will be on shelves at the Preservation event, then you can purchase one from the W.A.R.M.T.H. website.

featured label elektrosouls – ecdr podcast 20 – mick welch

Kazuumi — Mon, 14 Sep 2009 14:45:31 +0000

The 20th edition of the Electronic Directory podcast is brought to you by Mick Welch.

Mick Welch is an English DJ and producer and after running the Elektrosouls website that shares love and passion for electronic music with the world, he has launched his own label together with Samuel James called Elektrosouls Recordings. We caught up with Mick Welch and Samuel James to find out more about the label.

Interview with Mick Welch and Samuel James by Kazuumi Ishii

What have you guys been up to lately ?

Samuel: Well it’s been really hectic getting the label up and running what with one thing after the other. I’ve also been re-doing the website as well so all my time has been spent on that and the label. All worth it though.

Mick: I am concentrating on getting songs finished for the excellent Abstract Forms imprint which I am very excited about and Council House Recordings, a new label out of Ireland who mailed me a few weeks ago asking me to to a record for them. So quite busy which I am sure is a good thing !

Where and how was the mix made ?

Mick: I put it together in my home studio on a couple of 1210′s and a very shoddy old mixer. Nothing fancy just turntables and records. It’s not perfect but I enjoyed doing it and hope you do to. Unfortunately one of the channels on my DJM-500 has gone and I need to get it fixed quick which is a shame because I wanted to do the mix with that.

Can you tell us a little about the mix ?

Mick: It is a selection of old and new, some stuff I have been buying lately and some dusty old favourites. I don’t like to stick with one style, that is boring. To me music is music, techno, house, electro and if I like something I will play it regardless of age and genre. Though I cant see what the fuss is about with the minimal, most of it sounds like its unfinished… There needs to be a song in there you know ?

Let’s go right back to the beginning – tell us about your introduction to electronic music. What originally got you into DJing and producing music ?

Samuel: I was lucky enough to be brought up in a town that always seems to be on the edge of the latest music scene which I guess passes down to the next generation. When I was young my best mates eldest brother started listening to this really beautiful music which I related to – even though I was about 10. That music was House. I started borrowing tapes that came from the UK’s earliest house pioneers and all the legendary parties. These tapes caused a lot of fights (and I do mean fights) and are now legendary. That was it – at the tender age of 10 I got the house bug and I haven’t looked back. I was buying records getting the best tapes and just constantly listening to them. Then as I got older (about 13) me and my mates started going to parties where there was always house music and turntables. I just wanted to be able mix like all the Deejays I was seeing – although it took me 5 years before I could afford my first set of decks. When I got them I spent the whole first day just mixing and I have not stopped. I guess the producing just came naturally as the need to broaden my style and the inspiration could not be kept on just a set of decks.

Mick: Well, as I was growing up may dad was always playing Jean Michel Jarre, Vangelis and Kraftwerk albums. Man this stuff blew me away, I mean I had never heard anything like it. The normal stuff on the radio never pulled me in like this synthesizer music. So I would borrow his cassettes and listen to them in bed at night. You no the Albido 0.39 album by Vangelis, the track Pulstar, man that shit was crazy. Then there was Jean Michell Jarres’s Equinoxe, now that was what made me want a synth. I guess it was more the sounds than the songs that enthralled me and I begged my parents for one. I think I was 12 when my dad got me one, well it was only a Yamaha portable thing but it was the one with the blue pads and the FM synth built in. So I taught myself how to play some of the tracks on the Equinoxe album and would play them constant. So then as time passed by it would be 1988 and and one of my older friends had this cassette fresh from Detroit, the legendary WJLB Derrick May radio mixes. Thanks to Lee [Purkis] who was I think one of the first people in the UK bringing records back from Detroit. Man, this was what I had been waiting for – the sounds of the shuffling 909 hi-hats and FM basslines amazed me, it turned what I had already learned to love on it’s head and have never looked back ! One of my friends bought some 1210′s in about 1990 started getting all the latest Detroit / Chicago stuff and we all learnt how to spin. Some years later I started making tracks on the Playstation Musik software until I got my first PC and a copy of Fruityloops and used that for a few years, but I did not like the way you could tell the music was made with that software, everything had that same sound and I needed something more powerful so I started using Cubase with some VST’s and it all started to come together. I had never had the equipment to do any serious music until the last 2 years or so. I think I am ready now – you know ? I think I have developed my style into something I am happy to put out.

What was the initial impetus to start the Elektrosouls imprint ?

Mick: It was always the goal, to have the label. The Elektrosouls thing was originally inspired by what Groovetech and a handful of others were doing. Streaming audio back in 2003 was a relatively new concept, not many people were doing it. So that is what we did, all though the bit rates were real poor then it did not matter, it was just great downloading and streaming sets from your favourite deejays. It was always the dream to have the label it took a while but now it’s here and will hopefully be well received.

Samuel: When we started Elektrosouls it was just a website that was all about sharing music – whether it be a deejay mix or a live set and that hasn’t changed it has just evolved. It has evolved into something more physical, something more real and something that would inspire just as we have been. An outlet for us and our friends to put out quality music.

How would you guys describe the sound of the imprint ?

Mick: Deep melodic electronic music. Songs with emotion, songs with feeling.

Samuel: Electronic sounds for electronic souls.

You guys had hosted a radio show on Puresoundz before you guys started the label. What was that about ?

Samuel: We have been doing internet radio for quite some time now, we started off on the excellent Basic, an internet radio station based in Switzerland which still has a few of our shows up. The format with Puresoundz is basically us just mixing it up for two hours playing what we want. Unfortunately the label is taking up a lot of time at the moment so we decided to take a break for a while. We are looking at starting back up around the same time as the first release but just doing it once a month for a longer time.

Mick: But I think in a more serious radio show way though, not just us playing records. We are looking at featuring guest mixes and promo’s and like Sam says we want to do the shows for four hours. We will continue to buy and play the records we love and hopefully build it up into something really solid.

Mick, your first record on the label, entitled Morphological Construct EP, sounds very Kenny Larkin/B12 inspired. There is obviously a big Detroit influence. Can you explain this and who/what influenced you ?

Mick: A big Detroit influence but also and just as important is the early UK techno scene too – B12, The Black Dog, ART, Likemind, Tenth Planet ect. I mean this stuff was inspired by Detroit but now 18 or so years later to me they are as important as each other. In 93 we started going to Steve Bicknell’s legendary Lost night in London. That party when it was at its original home in The Vox, Brixton was amazing you know ? proper underground and I mean literally because to get in you had to use this massive elevator to take you down. I will never forget the music and good times I had over the years in that place. Were we live (Crawley) has always lived and breathed the Detroit / Chicago influence. A good few great techno artists have come from here and some people have even called it a Little Detroit !! This may be unbelievable to some but a few of the older lot brought Juan Atkins to our little local nightclub back in 89 and he had a box full of Metroplex / Transmat with him !! Unlucky for me I was to young to go though. That may of been the first time he played in the UK. So it’s great having the label to carry on the Crawley techno flag.

So how is the club scene in Crawley ? How does it compare to London and elsewhere in England ?

Mick: Ha ha, there is not much of a club scene here. Our main club is all commercial dance and R & B, a horrible place. We recently got a new club that is better with a Funktion One sound system and has the odd night but still rarely will there be decent deejays and music. There are a couple of friends who do most of the underground parties in here and at the moment they are doing a once a month party in a local pub. I played the last one and that was good fun. But for serious nights out London and Brighton is were its at as there only 30 minutes away.

Samuel: Yeah it’s pretty crap really there’s a couple of little crews that do parties in and around Crawley, mainly Red:Souls or Technology and we’ve been know to throw some pretty good parties at Elektrosouls towers, but Crawley is half way between London and Brighton so generally if you want a decent night out you go to one of these. I think England is dying a death when it comes to decent clubs these days and promoters are looking for other options like warehouses and fields which for me is perfect cos it takes it back to the old days. you know that wicked feeling of belonging to something special and being with people who love music not people who just want to get wasted have a fight and pull cheap women – not my idea of fun really.

Speaking of labels, will your Elektrosouls label just focus on your own productions, or can we expect several remixes and other people releasing original tracks on the label ?

Samuel: Yes, it wont be just our own productions, we want to spread the sounds from us and our friends – who ever that is. Our first release is Mick then we got Jaime Read and then New Town Soul. After that you will just have to wait and see…

Mick: ESR002 is going to be Jaime Read, who is also from Crawley. He has released some amazing music over the last 15 years or so and we are really excited about having him as part of the Elektrosouls ethos, but unfortunately for him he has had some of his best stuff stolen and released by a certain well known producer with no credit to him what so ever. The New Town Soul moniker is for mine and Sam’s collaborations which will focus on a more soulful deep house / techno sound. As the label and artist roster grows there will be some artists you know and some you that you wont. It would be great to get some of our music remixed and released by artists we love and vice versa.

Do you guys have any musical goals – anything you guys want to achieve, or try or explore or experiment with in the future ?

Mick: To be honest I think we are accomplishing that now !! I guess as things progress there may be good things on the horizon but I will just carry on creating, listening and playing the music I love you know ? I don’t see myself ever stopping. I think things are just getting started ! :-)

Samuel: For me it’s to get my first EP completed and out that would be a start. I’m still learning and I’ve kind of promised myself that I would learn the Piano – who knows I mean it’s all moving so fast at the moment. If you’d have said a month ago I was going to be interviewed about the label I would have laughed, but here I am.

Finally, what are your plans for yourself and the label for the future ?

Samuel: For the label to release more quality music, to take the Elektrosouls crew around the world and spread the love of Electronic Sounds For Electronic Souls.

Mick: I would like and have been thinking about getting a live set together but I don’t know how use Ableton so that is something I may get my head around in the future, and we have talked about putting out a various artists compilation featuring artists that we love. Hopefully those who are asked feel this imprint is something they want to be part of.

Elektrosouls Recordings will release Morphological Construct EP on 28th September 2009

Excellent techno EP, just how good is Mick Welch ? Deep, sweet and very beautiful !

Tracklisting:

A1. Positive Emotion
A2. Dissonant Dialect
B1. Seventh Sense
B2. Archetype One

Download Electronic Directory 20 Mick Welch Podcast

Direct download here or Subscribe to the podcast

Tracklisting

01. Force Legato – System v1.0 [ZYX]
02. Amnesia – Ecstasy [Disco Smash]
03. Model 500 – Whats The Game [Metroplex]
04. Quadrant – Infinition (Carl Craig mix) [Planet E]
05. Legowelt – Slompy Jitt [M>O>S]
06. Silicon Chip – Phuture Music [B.P.M.]
07. Armando – World Unknown [Not On Label]
08. DJ Bone – No Sleep (True To The Roots) [Sect]
09. Numbercult – See Feel [Numbercult 002]
10. Insync & Mysteron – Trackdown [Plink Plonk]
11. Mick Welch – Dissonant Dialect [Elektrosouls]
12. Gonno – Gakak [Beyond Recordings]
13. Deixis – Form v3.0 (Akropolis) [Abstract Forms]
14. Reel By Real – Aftermath [Ten]
15. Chicago Skyway – Heavens (Mix 6) [M>O>S Deep]

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