Underworld, artist Karl Hyde has announced the first single from his upcoming album EDGELAND. This first solo single titled “The Boy with the Jigsaw Puzzle Fingers” is now available online. Includes remixes by Matthew Herbert and Kasket.
P. Hello Karl Hyde. Welcome.
R. Hello, thank you for inviting me
P. Edgeland is your new solo album. What will we find on it? Have you collaborated with other artists?
R. I wrote this album with Leo Abraham, an extraordinary guitarist, composer & producer whom I met whilst we were both collaborating with Brian Eno on his
Pure Scenius project
P. This is a release on the Universal label. Which media or channels will be distributed?
R. All channels, both physical & virtual
P. You’ll be on tour in the UK, London. Also in SonarSound, Tokyo. Awaits Berlin, Amsterdam and Brussels. What do you expect from the tour?
R. Ha ha ha, I try to dispel all expectations & put my faith in people (my expectations are Disney Land). I’m bringing a wonderful band of musicians whom are not only great players, but a joy to be around.
Peter Chilvers (keyboards/lap tops) my musical director has worked with Brain Eno for many years, Angie Pollock (keyboards/vocoder/backing vocals) has worked with
The Lightning Seeds, Goldfrapp & Peter Gabriel, Gaz Williams (bass/electronics)
A gifted musician/composer/producer from the homelands of Wales & myself on
Vocals & Guitar. The lighting & staging has been designed in conjunction with
Bruno Poet who is lighting director with the English National Opera, LD for
Sigur Ros & was the LD for the English National Theatre production of Frankenstein
(where we met when Underworld composed the score for the performance)
P. Along with Underworld you are part of the masters of the 90s electronic music, with Orbital, Chemical Brothers, Aphex Twin, Death in Vegas, etc … How do you see the scene now? What has changed? What do you like?
R. It has finally crossed over to America, something I thought would never happen!
I like it all, even the cheesey bits.
P. After celebrated successes as Born Slippy, what does Edgeland give us?
R. Edgeland is based on the music Underworld always had on it’s albums between the dance floor tunes, tracks like ‘Tongue’, ‘Skyme’, ‘River of Bass, ‘Mother Earth & ‘Goodmorning Cockrel’ have always been a part of what Underworld put out on albums, but in recent years these tracks have never been performed. I wanted to redress that & set out to write an album directly inspired by such U/W tracks. The result is
P. You also keep your production with Underworld. How the individual creations affect the future of the band?
R. They make it richer & insure we don’t get stale or blame Underworld for not being the vehicle for ‘all’ our ideas, which leads most bands to split up (something we never want to happen)
P. Among the electronic rhythms of the 90′s and the melodies of Underworld, which are found in Edgeland? What changes have you introduced after these years?
R. On Edgeland you will hear atmospheric soundscapes, treated guitars, deep & distance grooves & my voice, all of which have their roots in U/W albums.
P. What influences you have when you create music? Which is the Muse? Is the industrial city? Is your hometown?
R. My Muse is travelling through the Edge of the city, riding trains, looking out the window, listening to the conversations of fellow passengers, documenting my journeys, sitting in cafes, walking through the back roads & forgotten streets at the edge of town
& recounting stories of my visits to places the news doesn’t document, but where I find a rich source of inspiration amongst the beautiful people who live there.
P. Cut Clouds is the first single we have heard from the new album. It is distributed in FACT, YouTube, etc. and different medias. Tell us more about it.
R. This track was directly inspired by John Martyn’s song ‘Anna’, a recording of which he sent to me before he died, a song that has haunted me for years. I wanted to pay homage to him & his unique style of guitar processing & ‘Cut Clouds’ is the result.
P. Clouds Cut is a single minimal, delicate vocals and melodies. Represent the rest of the album?
R. Delicate vocals yes, often inspired by the singing of Robert Wyat, deliberately fragile because this type of singing would never work in the powerful anthems Underworld write & so I have therefor longed to sing this way to balance the years of accompanying
Loud dance tunes. Edgeland also carries within it Treated & processes guitar, broken beats, scratches & soundscapes, Stories of journeys & the people I met on them. Singing, singing, singing & singing.
P. the Boy with the Jigsaw Puzzle Fingers perhaps belongs to a melodic pop, goes to The Smiths-influenced piano. What do you think?
R. An interesting interpretation. All of the songs on Edgeland are improvised & the vocals are all the first take that came out my mouth, making up the melody as I went.
There was never a preconception about what to write, only that Leo & I should press ‘record’ & start playing & singing, following & leading each other until we decided it was time to stop. We didn’t want to work with conventional song structures & instead wanted the songs to take the shape they wanted to take.
P. The minimal electronics stills presents, the taste for the instruments, the sound and it has perhaps something mystical. Why does it seem so attractive?
R. Since I was a young boy I’ve loved the work of Brian Eno & German Electronics, film sound tracks & dub Reggae. I think all of these influences relate to your description of the sounds on Edgeland?
P. It is said that your creations are “esoteric music landscapes”. What do you think about that?
R. Nice description (can I use it?)
P. What do you prepare for Sonar Sound Tokyo on April 7?
R. A live band, inspired lighting, huge new paintings of mine printed onto silk drapes & conversations with the audience.
P. You work with Rick Smith since 1980 and with Underworld since 1987. You have released anthems for dance floors. What do you expect now from the music industry?
R. Expect nothing & never be disappointed.
P. Underworld has recorded soundtracks for films like Matrix, Trainspotting and orchestral music pieces for the British National Theatre and the National Theatre of Scotland. Are you planning something new?
R. I continue to collaborate & record with Brian Eno (many hours of which have yet to be released), have just released my first film collaboration ‘The Outer Edges’ with director Kieran Evans & am currently scoring a two hour film installation I’ve created documenting a journey around the London Orbital (M25)
P. How does it mean to compose the soundtrack for the opening ceremony of the Olympic Games in London 2012?
R. Very nice
P. Thank you very much for the interview. Hope to see you in London!
R. Thank you for your support it means a lot to me.
More information at:
MEDIA: ORBITA MAGAZINE
PLATFORM: print – online
TOPIC: artist / album
REPORTER: Lara Pearl (Laura Plana Gracia)
Marco Bailey is celebrating the 100th release on MB Elektronics, his own label, with a brand new artist album – “High Volume” – a splendid musical creation, for the dance floor with minimal techno bass, down tempo and background sounds more transcendent and profound, accompanied by female vocals. It also has strong house rhythms and it is committed to beauty with references to classical instruments such as piano, among others. The recorded sounds and mixes reference American deep house, early 90′s techno and the result is a mixture of styles that are both new and surprising.
P. Hello Marco, how are you?
R. Hi Laura, I am fine thanks J
P. Tell us about your label MB Elektronics – how does it work? How many years have you been working on it? Who are the artists collaborating with you?
R. My label MB Elektronics was originally launched in the year 2000, so 13 years right now! In the beginning it was only vinyl of course, but when the world went digital the releases became also digital in addition to vinyl. Over the past 13 years we have had great releases, mainly from the MB Elektronics team – Filterheadz, Tom Hades, Redhead – but also some great remixers like Adam Beyer, Speedy J, Umek, Christian Smith, Joseph Capriati, Dave Angel, Ken Ishii and Sian – so as you can see, a lot of names have been on the label and we are ready to continue for a minimum of another 13 years
P. Your new album is titled “High Volume” – how does the clubbing scene influence you in your music creation?
R. My sound is mainly Techno, nevertheless I like lots of other styles as well, which you can hear on my album. The clubbing scene influences me very simply because each time when I stand in front of the crowd, TECHNO is for me the right sound when I stand there and where I feel the right energy with which to make the people dance and go crazy on the dancefloor.
P. In this album, there are direct references to classical music. This gives you a different look. The song “She Leaves” is pure piano bliss, can you tell us more about the process of creation?
R. I really wanted to have the “She Leaves” track on the album because I think there are too many albums with ten or twelve tracks with always the same style, which means for me, the artists who release all tracks of the same style are not open for other styles. I think when you do an album you have to show people all the music that is breathing inside you and I like classical music, I like electronica, I like house, I like tech-house and of course energetic techno.
P. What is your style? This is more than just techno, you also draw your influences from down tempo and tech house?
R. Like I said before, definitely energetic techno, but I like many styles of music.
P. Because of the titles, the album makes me think about a journey into the world of music? Is this how you view your new album?
R. I called my album “High Volume” because a good techno track needs to be heard at high volume, but also a nice chill-out piano track does not disturb me if I listen to it at a high volume.
I know high volume is maybe not good for the ears, but it is good for the soul
P. Your sound and style is very popular and attracts so many people – what are the things that make a DJ stand-out and stay popular for many years?
R. I think the most important thing is to give the people a good time on the dancefloor and to play not with closed eyes only for yourself. Every crowd is different in every country, so if you have a little bit of experience, you try to create a set always to give people a good time without avoiding your own sounds. Many aspects are important, it is like creating a recipe in the kitchen, the design of the plate is important, but also the food that is on the plate. It is not always easy to make the best composition and you always can do better of course
P. Your last album on Bedrock also had some experimental sounds and featured a rare combination of styles. How do you achieve such variety and new rhythms?
R. My album on Bedrock 2 years ago was a little bit different from this one. Every label has their own style and their own concept. When I prepared the album for John Digweed’s Bedrock label I did a bit less pumping techno, because Bedrock is a platform which stands for more open music, which includes also nice down-tempo, also nice chill-out, but also techno and tech-house. MB Elektronics is known for many years already for energetic techno, so my new album on my label is 80% techno, but still I wanted to include some nice down-tempo and chill-out music, because it is also music, which comes from my heart.
P. There is spirituality in your music – almost church music – that makes it unusual. What are you looking for?
R. I didn’t know that it sounds like church music When I was a young guy I was sometimes with my mum in the church and I remember what they played there was over and over the same!? But hmmm, yes, why not a nice organ back from the 60’s can sound fat and very analogue, so I don’t see anything wrong in this, when you call it church music, LOL. I like chill-out, classical, down-tempo, techno, tech-house, I think there is nothing wrong about it
P. The album will be available from February 11th. Will it be distributed in channels such as Beatport? Will it be a hit? Do you expect any awards?
R. Yes, my album will be released on Beatport on 11th February. I think awards are for people like Britney Spears, Madonna or Prince. We are in the techno world and mainly DJs and producers who try to explore music and what we play when we are in front of the crowd. Our music is mainly produced to make people dance and go crazy and wild on the dancefloor. That’s what energetic techno stands for in my opinion. If you want to listen to pop music or hits, then you have to watch MTV. This is not really my aim. My aim is to make people dance and go crazy at all the greatest clubs and festivals all over the world.
P. You’ll be on tour in Europe, Germany, Belgium, USA, Colombia, Mexico, UK, Spain, Russia, and Switzerland over the coming months. How do you prepare for such a tour?
R. I have not really a program to prepare myself. It’s going on already for 22 years and I have been touring for the 22 years and I have been DJing for already 15 years all over the globe. It is like a routine and it is like a driving energy, because you look forward each time to rock the crowd and this energy lets you keep on going and going
P. You are a DJ and producer for longer than many – how do you see things now? At what point in the history of EDM (Electronic Dance Music) are we at now? Is the scene healthy?
R.I think the scene is still healthy, even if there are sometimes some “snakes” in this scene and also more and more promoters thinking now only about money. That’s a bit sad to see because it kills the underground aspect of the whole thing. For some promoters it is more important who sells most tickets instead of listening to the records or productions that the producer has made.
If it is a song sampled from Donald Duck but it sells 2000 tickets they will book Donald Duck. It is very sad but what can you do? Let’s hope that creativity and soul in the mind from the people who really feel for music they like still wins it from this crap The only thing I can do is try to push myself every time when I am in the studio to do the best I can when I make a track and give the best of myself when I stand in front of the crowd.
P. Dance music is one of the most cutting edge trends of the moment. Why is it so successful? What is the secret?
R. I think the reason is because there are a couple of very clever guys like, for example, David Guetta. He found collaborations with very big guys from the R&B Scene like Usher or Will.I.am etc. – amazing artists with amazing voices and this combined with some dance music has made songs from David Guetta even more popular than Madonna. I don’t think it is negative because it is a nice combination, but it is a totally different world. You cannot compare that music with our sound, which still stands for underground and a very specific crowd.
P. You have a podcast on Soundcloud – Electronic Force – and the music is very different from the new album. So how is this?
R. Of course it is different, because I also have every 2 weeks another guest on my show. You cannot expect that you have the same music from these other artists to the music that is now on my new album. I want to create with my radio show different guests with different styles of music to keep it interesting for the people. I know a lot of podcasts and if you listen to them, if it is now number 1 or number 250 it is all the same kind of techno. I think it is not anymore interesting after some time. Most of these guys are also inviting every 2 months the same guest artist. It’s nice to support your people, but you cannot always serve the same plate of food to the people. It is for me like eating every day the same food it also gets boring after a time.
P. You have released your music with Tronic, Intec, Drumcode, Toolrom, 1605, Bedrock – some of the best labels worldwide. What else do have planned for 2013?
R. Mainly, of course, to launch my album, which is the 100th Release on my label MB Elektronics and I really look forward to it and like I said before, the main focus is my label MB Elektronics. I think it is for everybody the same like this at the moment to focus first on the label together with people from my team like Tom Hades, Redhead, Dany Rodriguez or Filterheadz, trying to build up some good releases. Of course, I am still doing from time to time another release, for example, for Carl Cox and his label Intec, as this big man has supported me from my very beginnings and still does, so he always will get my priority and the same goes for John Digweed and his Bedrock label.
P. You’ve played with great DJs like Adam Beyer, Ken Ishii, Christian Smith, and festivals such as Tomorrowland, Global Gathering (UK), WIRE Yokohama Japan, Extrema Outdoor (NL), Awakenings (NL), I Love Techno (BE), Nature One (DE), Monegros (SP) and clubs such as Ageha (Tokyo Japan), Zouk (SG), Space (ES), Fabrik (ES), Matter (UK), Fabric (UK), REX (FR), Space (Miami U.S.), Avalon (Los Angeles U.S.), Fuse (Bel), Industrial Copera (ES) or the Chinese Laundry (AU) – where do you enjoy playing the most? Where would you like to play in future that you haven’t so far?
R. I really love playing in Spain a lot. Space (Ibiza) was one of the best gigs of last year and Creamfields in Andalucia was fantastic. Ageha (Tokyo) is also every year one of my highlights and Tomorrowland in my home country of Belgium was outstanding. One place I still have never played is South Africa. Also I would love to play once at Coachella in California or Electric Zoo in New York. Where I also would love to play once again is Monegros or El Row, for me, definitely still one of the best clubs/festivals in the world.
P. You’ve worked with Carl Cox at Space Ibiza – one of the best DJ’s in the world at one of the best parties – what makes it so special?
R. There is not enough time to say it all in words, but it is totally fantastic, always packed and the crowd there is so great, going totally crazy. Carl is a man from whom only love comes out when you see him playing. It’s fantastic to be playing at his night, no more words, just amazing…
P. Your style is looking for something new and it is suggesting new trends – do you feel you always moving forward, improving your skills and achieving new goals?
R. At the moment there are so many different ways to play as a DJ – the digital DJs who play with Traktor or a USB Stick with SD Card, then you have DJs who still play with vinyl, then you have DJs who play CDs or DJs who try to play with Ableton, so many styles and so many possibilities to do a DJ performance at the moment. I am playing with Traktor and a USB Stick but mix everything myself, if you sync everything its not really DJing anymore. Most of these guys are always busy with effects and looping and stuff like this, but I think if you make a track in the studio you don’t expect that a DJ who is going play your track to cut your track into thousands of pieces and when you hear it on the dancefloor there is nothing left from it. So I still like to be a DJ who plays a track full-length and then mix it nicely with some other tunes. If it is with 2, 3 or 4 decks that’s nice and I am also doing this, but I think it’s wrong to cut a track into pieces and in the end nothing is original anymore what is made from the artist.
P. The techno scene is always changing and moving, with sub-genre styles like minimal, tech-house and hard-techno, but do you keep discovering new and surprising things? What parts of the techno scene inspire you?
R. Like I said before, through the years techno evolved into many sub-genres like tech-house, hard-techno, funky techno, groovy techno. Everyone has to work it out for himself/herself but still everyone has to create an original own style. I have not really a definition for this or clear answer because every artist is different and has to feel for themselves what is the best style for them to play when they are in front of the crowd.
P. Thank you very much. We wish you good luck with your new album and 2013 tour.
R. Thanks Laura xxx
ALBUM TRAILER ON YOUTUBE: http://youtu.be/0nrvVXmgXpk
VIDEO: Marco Bailey “The Falcon” http://youtu.be/Hx_DAXNUBcY
Marco Bailey “The Fox” http://youtu.be/5awPvaaOVcU
DANIEL AVERY future visions
Daniel Avery previously recorded under the moniker stopmakingme and has now
switched to his birth name, which has become synonymous with forward-thinking
electronic music. The FABRICLIVE 66 mix CD features original and previously
unreleased material from Daniel as well as exclusives like The Asphodells (with
Andrew Weatherall and Timothy J. Fairplay). Daniel is also signed to Erol Alkan’s
Q. Dear Daniel, how are you? It is a pleasure to meet you.
A. I’m good thanks. I’m currently on a train to Paris where I’m DJing tonight.
Q. Your last album will be released on 19th November, FABRICLIVE 66: Daniel
Avery. Is it a studio production for the club’s dance floors? What would you like to
achieve? Any award? Festival?
A. I’ve been collecting the fabric and FABRICLIVE mix CDs for years so it’s a real honour for me to be asked to contribute to the series. I ended up making something purely for the dancefloor: the kind of set you would see me play if you walked into the club at 2am. More so than anywhere else, fabric is a place where you cantake chances; the soundsystem, the lights and the crowd all mean that you can push things to different places. I’m really interested in that original, lawless spirit of acid house where anything goes so this mix is my take on that idea. The reaction to the CD has been great so far, it’s nice to release something that summarises what I do as a DJ.
Q. There are your own tracks and much collaboration. Tell us more about The
Asphodells – Dry Heat [Rotters Golf Club] with Andrew Weatherall.
A. When I found out I was doing the CD, I called Weatherall up and asked him if he had any old tunes he wasn’t using. He asked me what kind of thing I wanted and that he would make something specifically for the mix! Andrew is a huge inspiration and has also been a great supporter of me this year. He has been making music with Timothy J Fairplay, a huge new talent from London, under the name The Asphodells. Their album (due out early 2013) is really amazing.
Q. Could you explain us how do you start as a Dj? Was it because of your passion for contemporary electronic music? Is it true that you started devouring your dad’s record collection? Do you remember which albums? How important was in your career as a Dj the discovery of Mary Anne Hobbs’s
A. Whilst I liked a few acts like The Prodigy and Daft Punk, I didn’t grow up with dance music at all: I loved guitars. I would religiously record Mary Anne Hobbs’ Radio 1 Rock Show every week and, from there, I discovered her more electronic and experimental Breezeblock show. A defining moment was an episode when The Chemical Brothers played some of their influences and something clicked in my head. The idea that club culture is informed by so many different styles of music and that’s what makes it so exciting. The moment they played Temptation by New Order blew my mind and, yes, I would rifle through my Dad’s record collection in order to gain more of an education. From there, it was DJs like Weatherall and Erol (guys who occupied both worlds) who really started off my love affair with techno.
Q. Then were the first warm-ups at south coast night clubs and your first jobs, what is the best from that epoch?
A. Yeah I started playing warm-up sets when I was 18. When I say that I had zero aspirations of becoming a ‘proper DJ’, I really mean it. I simply liked playing records on a loud soundsystem. A moment that really stands out is a time when Richard Fearless from Death In Vegas came down and played a Spacemen 3 record in the middle of some amazing Detroit Techno and it made total sense and got me even more excited about the heritage of dance music.
Q. Now you are releasing with Erol Alkan’s Phantasy label. Actually, he is one of the best techno artists. What do you expect from this collaboration with Phantasy?
A. I feel very much at home on Phantasy. I know that it’s a label who will allow me to try and push myself as hard as possible. I wasn’t interested in signing with a purely club label as that’s not what I’m about. Erol completely gets what I’m trying to do.
Q. Is a dream that has become reality to be a resident at Fabric? What do you
recommend to the artists that want to be on the top?
A. Absolutely, it is one of my very favourite places to play in the world.
I entered this scene by complete accident so I might not be the best person to ask for advice but I would say that nothing beats sincerity. Play the records you want to play and that you believe in – you’ll have way more fun that way.
Q. The first track, The Eagle [Phantasy] it has something feminine, stylishly like Nina Kraviz. Could you tell us about that suddenly beginning?
A. I knew that I wanted a sultry, female voice in the style of some of my favourite electroclash records and Scarlett Etienne was the perfect choice. She came into the studio and nailed it in my about ten minutes. It felt like the right way to begin the mix too.
Q. You have worked in remixes for Django Django and The Horrors in 2012. Are you planning more collaborations and album remixes for pop stars? Or is now time to go clubbing?
A. I only take on remixes where I like something about the original and I feel I can do something interesting with my version. I have nothing against remixing pop stars as long as I can do whatever I like with their song.
Q. “Water Jump” is excellent track. Melodic, classic, a bit of dark techno, is it
Plastikman style? What you can achieve with this modulations and mixing techno, house and electronic music?
A. Thanks. There was no plan with that track other than I wanted to make something with dreamy female vocals that could be played during peak time in a club. When I make club music, that’s my only agenda: to make something I could play in my own sets. If other people like them then that’s great but that’s never the plan.
Q. Some tracks sounds like the electronic music of Crystal Castles or Fever Ray. Also, the album has the best of techno; it keeps the classical baseline and improves with new trendy rhythms. Tell us about your preferences and influences from Jeff Mills to Simian Mobile Disco.
A. Given my upbringing, acts like Neu! and Kraftwerk have as much influence on me as Carl Craig or The Chemical Brothers so I try and let them all have an impact upon what I make as a producer and play as a DJ.
Q. “Game theory” achieves the best quality, the rhythm is very addictive, and it is
immediately recognized by memory. What is that make it so?
A. Magnets is a fantastic London based artist. I actually signed that track to the Kill Em All Records label when I was working for them so I’m glad it ended up on the mix. I can’t really explain why it works and that’s probably what makes it so good, huh?
Q. In this album you have worked with labels as Cómeme, with Djs as Sneaker, Simian Mobile Disco. It is very recommendable the remix with JR Seaton and Gatto Fritto. Also the Miss Kittin, voices, sirens, pure electroclash style. Which is your favourite?
A. I love every single track on there but I guess the Gatto Fritto remix has been my favourite club record for a couple of years now. It’s a long, psychedelic trip and sounds completely unique. It sounds really huge in a club, too.
Q. In 17 Morgan Hammer – Libillule (Matt Walsh Remix) [Clouded Vision] there is asomething futuristic, messianic in the background, why?
A. Matt Walsh is doing something really cool on the London scene right now. His label Clouded Vision could easily become the city’s answer to Kompakt. He’s a great DJ/producer and has a really good ear for things – Morgan Hammer is definitely an exciting new talent. Messianic??! You couldn’t find a bigger atheist than me so that’s definitely not intentional!
Now, we have finished. What do you like to do in the future? Studio or clubbing? What plans do you have?
A. Both! I feel like things have only just begun. I’m working on a lot of new material in the studio at the moment plus I’m still DJing every weekend. I’m really excited about what could happen in 2013.
Artist: Daniel Avery
Title: FABRICLIVE 66
Label: fabric Records
Release: 19.11.12 (USA 08.01.13)
There may be lots of people, most of all Daniel Avery, who are surprised at the direction his musical path has taken. A self-confessed late starter to the world of dancefloors, instead being drawn to the guitars of The Stooges and The Smashing Pumpkins in his teens, Daniel Avery has come a long way in a short space of time to make some of the most forward-thinking, original and diverse contemporary electronic music around. Devouring his dad’s record collection from a young age, it was the discovery of Mary Anne Hobbs’ ‘Breezeblock’ show that illuminated exactly what makes club music so special and propelled him to apply as a warm-up DJ at south coast club night, Project Mayhem; a job that showcased his broad and eclectic tastes, and a job that no doubt changed his life. Now releasing on ‘kindred spirit’ Erol Alkan’s Phantasy label and with an album in the works for next year, Avery has quietly but surely cemented his reputation as a producer steeped in musical knowledge, with an innate skill for breaking boundaries with each and every production.
“I feel incredibly honoured to be a resident at fabric. It is one of my favourite places in the world to be, let alone play. Not many institutions can say they’ve successfully supported new, underground music for so long.” – Daniel Avery
A mix made solely for the floor, Avery’s FABRICLIVE 66 is exactly the kind of set you would hear him playing if you walked into any club at peak time. But this is not thoughtless music; there’s a real need to take the listener somewhere with this mix, to take you by surprise and make you lose yourself within the expertly selected tracks. Featuring a mix of new and exclusive tracks alongside Avery’s own productions, this is also a celebration of the labels and artists who have both worked with and inspired Avery on a regular basis. In addition to ‘Effect Tweak’ made with Justin Robertson, you’ll find another exclusive track from Avery’s idol and supporter, Andrew Weatherall – in his guise as The Asphodells with Timothy J Fairplay – made purely for this mix. Alongside Avery’s ‘Naïve Reception’, all three tracks are arguably produced to capture that certain specific dancefloor lose-yourself-completely mentality. Something Avery manages effortlessly.
“It’s rare to be able to take such risks in a club, especially at a time when anybody can mix together crowd-pleasing fodder on their laptop. That’s not for me. I love weird records; that original, lawless spirit of acid house where the music is pulsing but will also throw in some mind-bending, psychedelic elements to knock you sideways and make you lose yourself within it. This mix is my take on that idea.” – Daniel Avery
Daniel Avery will launch FABRICLIVE 66 at fabric on Friday 9th November, alongside Optimo, Kink (LIVE), Tiga, Duke Dumont, Gingy & Bordello, Sei A, Matt Walsh and more TBC.
FABRICLIVE 66 Tracklisting
01 Daniel Avery – The Eagle [Phantasy]
02 Cowboy Rhythmbox – Shake [Cómeme]
03 Telephones – Kanal (Prins Thomas Sure Oppstøt) [Full Pupp]
04 Rework – Touch Yourself [Meant]
05 Nautiluss – Troubleman [Turbo]
06 Daniel Avery – Need Electric [Phantasy]
07 Daniel Avery – Naïve Reception [Phantasy]
08 Sneaker – You Think You Think [Uncanny Valley]
09 Simian Mobile Disco – Supermoon [Wichita]
10 Magnets – Game Theory [Kill Em All]
11 Daniel Avery & The Deadstock 33s – Effect Tweak [Solitary Cyclist]
12 Daniel Avery – Water Jump [Phantasy]
13 James Welsh – Something Borrowed [Join Our Club]
14 Daniel Avery – Taste [Phantasy]
15 Forward Strategy Group – Elegant Mistakes [Perc Trax]
16 JR Seaton – Way Savvy (Gatto Fritto Remix) [Relish]
17 Morgan Hammer – Libillule (Matt Walsh Remix) [Clouded Vision]
18 Viadrina – It’s OK (Prince Club Remix) [Klasse]
19 Miss Kittin – Girlz [Heidi Presents Jackathon Jams]
20 Raudive – Dancing And Slaving [Wires]
21 Kassem Mosse – Workshop 12 (A1) [Workshop]
22 The Asphodells – Dry Heat [Rotters Golf Club]
23 Compuphonic – Sequoia [Moodmusic]
INTERVIEW TO JEFF MILLS
this interview was made to jeff mills for orbita magazine and for mutek,es barcelona february 2013
On its 20th anniversary, Axis Records presents SEQUENCE, a compilation book and a CD format.
“What began as a dance music label has evolved into an undeniable creative force for his role in the quality of shape, colour and textures of dance music, probably the best we know today and tomorrow. Formed in 1992, the acclaimed Techno DJ, producer and artist Jeff Mills, formed Axis, the independent label that continues to be one of the best producing electronic music, in the limits of creation and perception of the Cosmos. Axis is the science of body and soul. Following 20 years of fervent activity, the archive of all his work and his projects have been collected in a collection of art, photographs and designs. Axis Records is in 320 pages 30x30cm. hardcover book with USB card with 30 tracks selected by Jeff Mills to represent the history of Axis Records Between 1992-2012. Out on December 10, 2012. Double CD compilation of 24 tracks released as the book release simultaneously – http://www.axisrecords.com
P. Hello Jeff Mills. Welcome!
R. Hello. Thank you!.
P. What does it make your sounds particularly special?
I don’t really know the answer to this question. I try to relay what I feel about subjects through music and sound. Why it sounds this way might have something to do with
my musical history that pre-dates today’s DJ culture. I still try to play electronic machines like instruments, not like programming a computer.
Now is 20 years of Axis Records presented in a book and in a CD, titled Sequence. Tell us about why did you decide to make it?
R. We thought that two decades was a good number of years in our history to look back and reflect on what had been attempted and created.
P. Your last job is the Alpha Centauri video in collaboration with VJ Heleen Blakeen. It is an excellent video art work. How has it arisen?
R. The idea of Alpha Centauri was an idea that we had been thinking of for quite a while. We felt that by having an outlet dedicated for images and film would be greatly helpful for people to understand what Techno music looks like. The initial contribution of Heleen Blakeen was a perfect beginning. We asked and offered Heleen to create a film every 3 months of 2013. The next will debut 4/1/2013.
P. Your music is very qualitative. Have you ever received any offer from labels such as EMI or Universal?
R. No, I’ve never been. I always assumed that those companies specialize in making very large sums of money so, the more people the music appeals to, the more money the company makes. I never thought my music has that mass appeal.
P. Kraftwerk is also in EMI. They are the pioneers of the “Computer Music”, low electronic and techno sounds. Is this also your music style?
R. Bands like Kraftwerk made their mark in the Music world when major labels took chances and were more interested in artist development. Those companies like EMI saw a value in bringing people something new and different. By the time I began my career as producer that progressive thinking larger companies had basically disappeared when the very creative A&R people were replaced by people that were better and making money than discovering innovation. This task was left for independents record labels.
P. Your attitude as a DJ is admirable; you have created your own label, one of the best known independent labels. How busy have these years of work been?
R. Very busy. We’re usually working on numerous projects at the same time. I’m constantly coming with concepts and new projects to make music for. I never take a break. We’re always planning and preparing.
P. Your works are stunning, magical, with deep sounds, transcendent, always mysterious, and a bit visionary. What do you pretend? What are you looking for?
R. I believe what I’m really searching for has very little to do with people. I suppose the same as people dancing in a club aren’t really there for the DJ, but they’re there for a psychological and mental release. I’m suspect I’m trying to locate my inner self by creating music.
P. Your works are still being cutting edge sounds, very blues and tectonic textures. Rapid and profound, they move us into the matrix of sound. How have you get it? What technique do you use?
R. I think it is all from the way I see reality and the future. I generally use a technique of wiping away and trying to forget what I’ve done in the past so that I have more chances to make something new. I read and follow a lot of science fiction.
P. Your mix is Techno, with the bass lines always strong, along experimental sounds from recent years. Which is the secret of your success?
R. I don’t think “success” is the right term because I’m never sure if tracks are really being understood. In fact, I’m not very good at giving people what they want. I’ve rarely made music for this objective and a large acceptance and understanding does not show in the sales of our releases. I try to stay honest with my creative and technical capacity and never believe that what I’m doing is absolute – there is much room to expand.
P. The Bells is a classic, a hit everyone could recognize. How many years have passed since The Bells?
R. I made “The Bells” back 1993, but did not officially release it until 1995. It was a track that was made part of a collection of music I was making for only for myself to play as DJ. It worked so well and effective, that I thought it might be something other DJs could use. Those other tracks I was making for myself eventually developed into the label Purpose Maker.
P. In Sequence we are in front of a work between human and machine? Maybe between life and death?
R. Yes, this is correct. It is a movement between two points. Like the Exhibitionist DVD we released back in 2005, I thought this was important to create and present as a piece of history. A archive of the past to be reviewed and examined later.
P. How do you use music to open doors and discover universes?
R. I believe that doors to discover have always been open. It’s a matter of us taking the time to connect to realize. I think the structure of music has a formula of reaching this realization. Or at least an conceivable impression.
P. You will be playing at MUTEK.es what will you do there? Any surprise.
R. The presentation at Mutek.ES will be a concept entitled “Oneness”. A musical exploration on the subject of Singularity, focusing on the transformative existence from human to man – machine.
P. Thank you very much for you time. Best wishes.
R. Thank you very much.
THU 24TH, JANUARY
VERITY SUSMAN PLUS SAVAGES (DJS) PLUS TOM RICHARDS
VENUE / ELECTROWERKZ, 7 TORRENS ST , ANGEL, LONDON , EC1V 1NQ
TIME / 20:00
TUBE / ANGEL
TICKET INFO / £8 ADVANCE
After a decade as lead singer of experimental rock band Electrelane Verity Susman’s solo project (facebook.com/veritysusman) probes new territory. Using music, visuals and text, her live shows create a world of psychedelic alienation, embracing the subversive possibilities of awkwardness. Often appearing in drag, her saxophone becomes an organ of musical and gender performance, confronting audiences with a queer female masculinity that is at once serious, humorous, angry and uncomfortable. At times ironic, often passionate and full of joyous heartbreak, Verity takes the audience into a collage of exploratory soundscapes, woven through surreal reconstructions of lesbian pulp romance novels and sci-fi slash fiction tales.
Tom Richards has been walking the line between sonic art, sculpture and music since graduating with a MA in Fine Art from Chelsea in 2004. In the last few years Richards has developed his own idiosyncratic modular electronic music system, with which he creates slowly evolving and heavily textured polyrhythmic improvisations. His individual approach and reduced palette lead to a taught, rhythmically focused sonic experience.
Plus Jehnny and Faye from SAVAGES will be playing records.
Elektrowerkz is a venue I was following for a while, rare, discrete, big enough and medium-high stage. Tom Richards is playing. Its style is minimal, experimental sounds, with own DIY instruments and synthesizers to create sequences of sounds. Its live improvisation is random and venturesome, like Cage projects. Its music sounds closer to art rather than industry. It resembles Gutai and the 70’s experimental bands performing happenings leaded by Fluxus movement. Definitely, Tom is one of the main figures of London noise scene. Its quality of treble and bass is very raw, profound, very plastic rubber like tail. For a while, it makes me think of Jeff Mills. Tom Richards sharply sounds achieve, in a moment of the composition, a harmony with a certain constant rhythm. It does not exclude distortion, couplings, waving the audiences into some hypnotic trance shaking head dance. In a manner, its sounds like imitating the “cosmos-breathing-machine”. This is music to look thorough; sounds to see, referencing Marshall McLuhan’s theory of the senses and perception. Tom Richards uses vinyl, synthesizers and self-made electronic apparatus. His music is between the sound engineering, the history of electronic music, the waves experimentation and the natural sounds (birds). A particular style influenced by the electro acoustic music of Steve Reich, Darmstadt and the music spheres’ from ancient Greek.
Last time I saw Electralane it was in Field Day, 2011. Now, she is Verity Susman. She has turn into a man, with a moustache. In its live act is using visuals, music, altogether with theatre, art and playing saxophones and synthesizers. The basses are composed by recording live voice. The act is an exploration with wavy sound material, looking for reverberation, tectonics experience, with a classical androgyny and futuristic style. Although this, it still sounding such as an electro-gothic band. This is a rapid vocals rhythm for a very formalist project, cryptic and very worthy bizarre arty language. In its extreme limit is delicate, it results rare and dense. And it is because of the progressive and evolutionary songs of 8 or 10min. This is mainly a vocal project playing with lyrics, live recordings, voices-over. For a while, makes me think of Grace Jones, Laurie Anderson. But, Verity Susman is an Indie, an experimental music project searching for the evolution of the apparatus. She adopts the time of the Dj session to play continually with keyboards, delays, basses, voices and synthesizers. The aesthetic of Verity Susman is influenced by 50s. Cinema Noir and its feminine prototypes using Guns and instruments to reshape the body figure. Its abstract visuals show a delicate quality of textures, ropes, that represents an interior landscape, the soul of sound. This is an experimental art. And through its creativity as a shaman, displays liturgy for the senses, psychedelic and lysergic; to interfere the reality, a permutation to change life. It finishes with a rock landscape, from where it all comes from, and where it all goes.
Fabric 12.1 w/ San Proper, Portable (Live), Trus’me & Jimpster Delusions of GrandeurLine up1
Trus’me PRESENTS: ‘Treat Me Right’ ALBUM LAUNCH
DELUSIONS OF GRANDEUR…
Norm De PlumeMore info & tickets from www.fabriclondon.comSupported by Ricardo Villalobos, Laurent Garnier, Zip and his label Perlon, San Proper is part of a growing number of Dutch DJs who are moving from a local cult status to become an international cause célèbres. San Proper is the real deal. One could describe his story as one of the struggling artist, but if that is true, he has certainly enjoyed the struggle along the way. In 2011 he released his debut album for Rush Hour and frequently collaborates with Ricardo Villalobos exhibiting some of the same eccentric flair for next level sound. This time, San Proper will be taking a break from his extroverted live show to build an imaginative house DJ set suitable to the surroundings of Room One at Fabric. We know San as an ambassador of theAmsterdam electronic scene and together with London’s finest Craig Richards, accompanied with a live-set by Portable, aka Bodycode, who is accessible and idiosyncratic in his live act, bringing to wide influences (born in Africa, living in London and now Berlin) to bear his deep vocal-led productions on Perlon and Spectral Sound.
The remixes San Proper made last summer for labels like 87 records, Soweso records and artists like Belfie, Adil Hiani and Rick Wade have a strong ressemblance to his own work. His signature is prominent. You’ll hear him use his vocals a lot, his percussive ad-libs, the bass-lines and themes set the tone. In his tracks, like on his debut-album “Animal” which he released on Rush Hour records in June 2012 you’ll notice a lot of his field-recordings and cinematic ambiance sounds which he uses because he claims it adds more story to his tracks. In a bar in Dalston, London, he tells me about the different tales and saga’s behind his music. He explains to me why he occasionally prefers to play eclectic sets and emphasizes his love for Disco with a cheeky statement. “Disco is the ‘mama’ of House-music, and i like to date both mother and daughter…”
I meet San Proper for the first time during Mutek.es 2012 in Barcelona. He was invited to play a live-set at Moog, after the success of his first show for Mutek in Montreal 2010. I remember his present personna during the performance, he has an attractive force, very special, some kind of spark that makes him different from the others. His ‘lives’ are funky, experimental, excessive and dangerous, and i have to admit, one of the best i’ve ever seen.Fabric is worldly renowned for being the best in technical equipment. The best sound and best lights flood the dance floor giving the audiences to feel part of a world made of Techno and House music, with it’s visions which shape the dance culture. Tonight his happens in Room One for sure, in the same booth where a plate of Scott Patterson, founding father of the club Fabric, says “Fabric Heritage. Hardcore, worker, raver, horse lover Scott Patterson lived here”. San Proper is on the best DJ’s to line-up nowadays. In his repertoire i’m hearing Funk-influences, electronics, Jazz, Samba, Techno which all together sound like a whirlpool of proper tunes. It reminds me of tectonic textures and lava, pure sound and raw material.
San Proper promotes his friends and colleagues from his city who are responsible for the ‘Amsterdam-sound’. He talkes about projects as Shoebox, Alphabet and some more Tom Trago, Awanto 3, Melon, Overlast and O-Boogie and tells me that when first started releasing his ‘Proper’s A’dam Family Series’ he felt an urge to make his debut of 12′-inches a collaboration project with these MPC-heads to represent the sound of Amsterdam and the infuence from abroad. He hints about a new project he’s setting up entitled ‘Stiletto’ and praises Heleen Blanken, a good friend, a new VJ-talent who recently produced the visuals “Alpha Century” with Jeff Mills. Proper is obviously impressed with the visuals and tells me what a massive impact it had when he fell in love with the Axis compilation Mills put out in the nineties. The depth and mystique echoes on.San Proper released his new album entitled “Animal” in June 2012 with Rush Hour ( www.sanproper.com ), an independent label based in Amsterdam since ’97, which has a renowned status with the tracks and albums they released in the last fifteen years.In his live-shows, San Proper uses guitar, synths, bass and his vocals. Once he’s recording in his studio, he’ll use lots of live-drums and percussion on top of his electronic productions. He explains to me he prefers the combination of drum-computers with organic sounds and tells me on his album his lyrics are about the topics in his life, like a diary. He gives some examples with tracks like “Brain Soup”, which refers to a hangover which feels like someone’s making brain-soup in your skull. He tells us about the girls running around in the corridors of his mind with “a Choice named Joyce” which like “Another Sign” and “Water castles” have an obvious feminine inspiration, like most of the tracks on the album this last example is about women, their tears which he turns into diamonds to seduce them… He has a soulfully distorted mind which presents Proper’s Dusty House Music…”
Lara Pearl interviewed San Proper in Fabric, London, Saturday 12.01.2013
2011 Sala Apolo: 9/12/11