Skopje, Marcedonia has played host to some of Europes most infamous clandestine music assaults in recent years, effortlessly fullfilling the criteria thats required to manufacture precocious artists and this weeks guest is direct evidence of it. From actively absorbing the foundations of music theory from a young age, hes engineered an ecclectic acoustic artery thats been integral to the succeses of the Djibouti EP in 2009, in turn cementing his position firmly amoungst the Dogmatik dynasty. This event transpired concurrently with the founding of his own imprint, Argumento Music Group, alongside Aleksandar & Darko.

Pausing to reflect, the majority of the electronic populace would feel as though they were nearing consummation, though its his approach to personal development and an impetus thats aligned with acidic progress thats directly facilitated the forthcoming material on Tangible Assets – an introduction to the chaotic summer thats now on Europes doorstep.

Stojche orchestrates the illustration we’ve conceptualised that doubles as this weeks broadcast.

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Kn:  Lets start by reflecting back to your late teenage years growing up within the music scene of Skopje.  What defining moments inspired you during that period that directly impacted and shaped the artist you’ve become today?

S:  Definitely the underground techno scene in Skopje initiated my inspiration.  There were countless parties back in the day happening every week in different venues.  The godfathers of Techno like Derrick May, KMS, Carl Craig were regular guests here.  I was impressed by the fact of how the dj art can control the senses and the emotions of such a large group of people.  I guess that fact had a major impact on what I’m doing today.

Kn:  The production quality of your records suggests an approach to sound design that is meticulous.  Was there a defining moment when things catalysed for you in the studio?

S:  When I started learning how to produce, it took me a lot of time, and I’m still learning new things and sharing experiences with friends everyday.  My friend Darko introduced me to the basics and from there on I had to invest more in the learning process of the actual music theory.  My uncle is a professional musician, so I took some time with him in the process of learning the scales, harmony and chord progressions until I was confident enough with the process.  I then began the process of sending out demos to record labels, once I was happy with the level of maturity contained in my records.

Kn:  Looking back, the release of your Djibouti EP in 2009 on Dogmatik presented an undeniable magic.  It also marked another turning point in your career.  Can you tell us how that particular release effected your own evolution, and what have you taken from it and adapted to your approach today?

S:  Dogmatik records definitely opened a new chapter in my career and I’m glad that I’m a member of the Dogmatik family.  My 1st record on the label received a tremendous amount of support and was a regular spin-out in the boxes of a lot of djs.  From there, the relationship has been constant and as a result of my releases on Dogmatik, I have received extra work for many other projects.

Kn:  Argumento Music Group was also cofounded in the same year, and represents a number of strong releases.  Tell us how the opportunity came about and the importance that Argumento has to the region and the local music scene?

S:  My partners and I (Aleksandar & Darko) came up with the idea of building up a platform that is going to give us the opportunity to spread the music that we believe is worth being heard and played.  We started to collaborate with people from the region (Kink, Regen, Marko Nastic, Subotic) that already gave their contributions for the label and also guys like Franklin De Costa, Alex Arnout, Ryo Murakami, Bearweasel, Anton Zap etc; all artist’s who’s music we respect, and who we believe have impressive catalogues to date.  We keep searching for new music and new artists to bring on board in the future.

Kn:  Artist’s have something more to say than the music they’re making. ‘Tangible Assets’ is your latest endeavor as a label owner.  What was the impetus in setting up a new ‘vinyl only’ platform and what vision do you have for the labels future development?

S:  The idea came out spontaneously.  I felt that I needed a solo platform to express myself deeper.  I didn’t want to compromise on sound anymore and I wanted to share those ideas with people that are still playing the vinyl format and have enormous amount of passion and love for it.  Tangible Assets works without any kind of promotion.  There is a limited amount of pressed records, so being vinyl only (as with most of the music I buy) it’s a fresh and interesting method for me.  Somehow I’m more emotionally linked to my records than the digital stuff.  And I’m really doing this just for the love of music.

Kn:  The forthcoming release on Tangible Assets showcases another extension and sound of your persona.  Is your production approach toward each project/label one that requires a change of mindset or does it all distill into one subconscious move?  And what does this second release represent for you, both musically and personally?

S:  My production approach is the same for each project.  There is no specific criteria.  I want to keep pushing my sound with every opportunity.  Yeah, the second release on Tangible Assets was a similar process as the first release; distilled from a subconscious move.  I’m always keen on bringing various moods, themes, drums and melodies to one piece of vinyl.  I’m driven by the feeling in any given moment in time.  By listening and playing this release over and over it’s obvious where my influences are coming from.  I was always influenced by the Detroit Techno, Chicago House, the Dub Techno etc.  I’m always trying to combine all these various influences in my personal creative manner.

Kn:  Culminating all your prior experiences, what stands out as the most valuable piece of advice that anyone has gifted you?

S:  Be yourself, follow your heart, do what you feel is right.  Don’t ever try to steal or copy someone else’s work, because it is going to turn out that you are just a cheap copy without any proper value!

Kn:  As the electronic music world broadens, so too does the ecosystem in which it operates.  As a label owner, what exciting possibilities or opportunities do you see emerging in the future for our music?

S:  It is a great phenomenon that a lot of new young guys are getting involved.  Also some of my heroes from the start when I got involved are still doing a great job.  I think that the hyper production of tracks today is setting up higher norms in terms of quality of music, that is, if someone wants to breakthrough.  The industry is craving hard work, uniqueness, personality, timeless tracks and soul rather than just bongos and loops.  So, I like it this way because I see a bigger challenge when I’m in the studio.  The same for Argumento, we’ve created a network of people that we believe is a strong team behind the label to contribute in reaching our objectives.

Kn:  As we move forward toward the European summer, whats on the horizon in terms of releases, studio time, the labels and events?…and stepping away from music momentarily, are there any burning ambitions that need to be satisfied along the way?

S:  Big studio action will be going on during the summer, I’ll be working on new material for Tangible Assets, preparing the new Argumento releases, and will be playing again at Exit Festival, some european gigs, some local gigs……and when we step away from music, I’m a big football fan.  I want to see a much stronger Manchester United next season.  I’m a huge fan of Man Utd.  This week I saw the title ambitions fading away for United.  My booking agent Tom Craven (Illusion Recordings) is from Manchester, also a UTD fella, I want to celebrate the 20th title at Old Trafford together with him and the rest of the Red devils.

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Links:

Soundcloud  //  Facebook  // Juno

Bookings:

info [at] theillusionagency.com

Not every artist so easily conquers the various battles that arise throughout their career and emerge with a fresh wave of constructive energy and purpose.  We’ve got no doubts Jonas Kopp falls into that category and the past two years have been somewhat of a renaissance in an ever evolving disposition.  Releases across Ostgut Ton, Stroboscopic Artefacts, Perc Trax and Ilian Tape have all been the direct result of 9 years of perseverance and with his first LP in the pipeline, chaos perfidiously seems to materialise briefly in the periphery.

Closer to home, his own label Traut will be the medium for what’s going to be a heavily consistent release schedule comprised of Shifted, Perc, Brendon Moeller as well as supporting the growing pool of talent from his base in Buenos Aires.  That in itself should displace ones attention, though if we were to assume impetus, this weeks broadcast should do a portion of it justice.

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Kn:  Almost this time last year you were winding up to be in the thick of an extensive European tour after years of hard work.  What effect has the last year had on you and where are you now musically in contrast to the year that proceeded it?

JK:  The last year was a little bit special because I was coming producing with a huge inspiration in 2010, I had a lot of solid releases and the result was a big tour around Europe in March 2011.  Then I had a couple of emotional episodes in my personal life which made me feel without inspiration at all, I just made 1 EP as Manzel and some remixes.  In September 2011 I started to work hard again till today.  I’m really focused at the moment setting up my first LP, making a lot of music and setting up my next European tour in May which looks really interesting at the moment, so I can tell you that I’m happy right now.
Kn:  Your recent radio residency at Delta Club FM is surely something to be proud of given the fact your broadcasts are regarded as being nothing short of outstanding.  Is it giving you the chance to showcase other facets of your own take on electronica that normally wouldn’t be heard on the dance floor?

JK:  For sure, I’m really thankful to have the opportunity to show different facets of mine in this way.  I’m a music lover so I like to have all that good music in my bag and play different concepts at different opportunities, moments or places.

Kn:  Whilst we’re on the the topic of freedom, there are a lot of producers/DJs out there, more so than ever, that are perhaps at a point in their career where they feel as though they need to market their sound to follow trends. Thoughts?

JK:  There are a lot of producers right, also there are a lot of them who aren’t looking around or following trends and their sounds are fresh and different.  There are a few in the mass of global producers who are looking to or following trends, most of them thinking about the money or in it to be famous quickly, basically.

Kn:  It’s been some years since you founded Traut music which hosted some great releases.  What’s the status of that project at the moment, or are there other avenues you’re throwing around that you’d like to pursue?

JK:  Traut Muzik is more strong than never, a lot of solid releases are coming up… I can tell you some names for example, we are to release a Tom Dicicco’s EP featuring Shifted remix, Bleak’s EP featuring Skudge remix, and some other names coming up like Markus Suckut, Truncate, Perc, Brendon Moeller, Ilario Alicante, Furesshu and some Argentinean new comers like Oswld and Espen Lauritzen.

Kn:  Tours, time in the studio, life – where are you headed from here?

JK:  I almost spend all the time of my life in the studio, then I like to stay with my little daughter Chloe… as well as touring around Europe twice a year for 2 months on each tour.

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It’s been some 14 years since the release of Brikha’s Groove La Chord and it’s been a continuous period of achievement and demading presence that’s seen his studio work and live performances parading effortlessly across the world.  The inspiration fuelled by the likes of Depeche Mode, Front 242 and Jean Michel Jarre from the younger years set an unprecedented substratum and if we were to discern his perspective on tomorrow we’d find ourselves reinventing and standing at the gates of an intricate renaissance.

Moving towards the commencent of another Australian tour, we’re taking some time this week to dicipher what’s becoming an ever fluctuating transit comprised of the haunting atmospheres most commonly associated with the soldiers that reside in the fortifications of aesthetic decadence.

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Kn:  ”Art Of Vengeance” is now home to all of your original material.  A conscious departure from releasing on an array of various labels no doubt.  What was the main motivation behind starting your own imprint and what plans and aspirations do you have for the imprint in the near future?

AB:  Basically having more control over my music in all its aspects, the sound, the choice of tracks and the artwork.  The plan for now is to just keep releasing ep’s with a theme/city/subject…something that has inspired me.  I’m also listening to other peoples stuff but nothing confirmed at the moment.  The idea of the label is to release anything I like so it’s not like the label will only have a certain sound, I already tried to show that by the first 3 releases.

Kn:  You’ve been producing for many years now – since the age of 16.  What currently inspires you to keep forging the path you’ve been on all these years?  Where do you see the momentum of your soul taking you from here?

AB:  I am, as usual, all over the place when it comes to styles.  One day I feel like making melodic stuff, another banging techno and another more downtempo disco/italo/deep-house…it’s a mess!  I don’t really plan what to make, I let my mood and inspiration guide me… with the help of my ears. 

 
 
Kn:  2011 was a healthy year in terms of remixes and releases on your new imprint.  What projects are you currently conceptualising and bringing to fruition?

AB:  Something connected to japan, something connected to detroit… more info will follow when I have it all planned out with the final artwork and such.  I’m also trying different co-ops with vocal stuff, remixes of non-techno tracks… just trying to keep things interesting for myself.  But I’m definitely putting out 2 more ep’s this year and some remixes seem to be on their way; stay tuned!

Kn:  Since your highly publicised tour in 2008, technologies have shifted and emerged.  What has changed since then in your approach to live performance, your live setup and in the delivery of your live set, which for the most part is unrehearsed?  What should Australian shores expect this time round in celebration of your ‘Deeparture In Time’ tour?

AB:  Well the main difference was already made 2006 when I switched from hardware set-up to my laptop based one.  I’m still doing the laptop live-set but just like with the hardware, I don’t have any arrangements, bridges, track order or anything prepared.  Each sound is separated, kick, hihats, snares, percussion, basslines, chords… everything.  I’m the one controlling, launching and manipulating the songs and the order of them as I go along.  So, I don’t really know what people can expect, the crowd and feedback I get is as a big part of my live-set as my own input is.
Kn: As we transition into 2012, are there many aspirations in life that you still have your heart set on achieving?

AB:  Just try to find inspiration again, it’s hard when you have to be creative all the time with music.  You can’t help but think rather than just feel.  I try to do whatever sound I feel like but at the end of the day I get bored of doing 4/4 tech/house whatever.  As I mentioned, I have been starting to talk and work with other people at this point and something I have never done is working with other producers or musicians.  I’m tired of sitting home alone making music.  I’m going to try the “band” thing…

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Aril appears this weekend 10th March for the LGM crew at Bar Soma, Brisbane, Australia.

Links:  Art of Vengeance  /  Facebook  /  Myspace  /  Beatport  /  Discogs

Tour Dates:
Friday 9th March – Royal Melbourne Hotel, Melbourne
Saturday 10th March – Bar Soma, Brisbane
Sunday 11th March – The Clubhouse, Canberra
Saturday 17th March – One22, Sydney

As this weeks broadcast goes live, the night lights of Buenos Aires will be collectively instating a crusade on it’s streets, though it is in the concrete fields of this vibrant municipal where our guest this week has fortified himself.  From a young age procuring the hardware that has sustained an experimental mentality, it’s now been 17 years of commitment that’s facilitated the plastering of his work across flagship imprints such as M_Rec and an establishment defined as his own, Subsequent Records LTD.

As a consequence, some care should be administered to any inferred invitations these parades endure, and although only a relatively diminutive period of time has elapsed since the releases of ‘Atlantis’ and ‘Anunnuki Invasion’, it’s the derivatives of this work that implicate the cosmos in a mythological crises which doesn’t appear to be concluding in this life.  Perhaps In a world where ancient surrealism pervades. 

We’re with Luis Ruiz.

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Kn:  Can you tell us about your life growing up, how your path proceeded the way it has and what impacted your own evolution?

LR:  If we speak about evolution, we have to give a brief overview of achievements and important things.  I think that foremost in my life has been to differentiate the present trends, socially established in the current Techno, studying the times in which we live.  The growth in my career has been slow during these 17 years as a producer, always in the underground, with a low profile.  From an early age I liked to program synthesis, patterns and play with knobs, sliders, faders.  The key has been studying my equipment, synthesis and Midi systems.

My music has an unconventional face in these times where “everything” sounds modern, and has lost the roots of Techno.  But my greatest conviction is to keep intact that old school sound that I love.  True to my roots coming from Detroit and Berlin’s ‘90s true real techno.  The conviction that grew in my life was to believe, defend and keep alive the techno spirit.  It is what I call real evolution, have a mental awakening, a connection to a higher plane of existence that I get only with techno.

Kn:  The scene in Buenos Aires at the moment – is it moving in the right direction? Is there a general trend at the moment you’d like to see more of, or perhaps one you’d like to see less of?

LR:  Not good at all. Currently the scene is too divided, badly. There’s a few techno events (modern minimal-techno so-called “techno”, and things related to today’s false techno, something that bores me about that trend).  But occasionally, I have the chance to play at an underground event in some dark basement.  I love those places with few lights.

I remember the best times in Buenos Aires were in the 90′s, at a mythical club called “K2″ with a “rave” spirit, there was a place for fast beats in techno.  Today we lost that.  Unfortunately the people follow the fashion and trends.  I hope that changes soon, even in the underground.

Kn:  Your recent LP ‘Atlantis’ featured a few great tracks that is quite different to what you’ve been producing of late.  Was the approach to the album slightly different?  Was it an opportunity to experiment on different tangents?

LR:  Atlantis is my purist side as the old school that I talk about.  100% Detroit oriented melodic, emotional and deep as I could express my most sensitive form.  Many of the titles were taken from my studies of ancient cultures, themes of anthropology, history, philosophy, literature, quantum physics, cosmology and astronomy… often issues influential in my daily life.  I have been strongly influenced by our creators, those who from heaven to earth came…

The album was thinking from the beginning as something different than I had been published, with a concept that motivated me to write and produce music together.  Not only expose my musical ideas that range from melodic to ambient, but also the ability to develop and expand my ideas about the history of humanity and civilization, his evolution, organization and the level of technology reached… in the titles, the album name can be seen.

Kn:  Speaking of tangents – are there any left of centre projects you’ve been considering that are quite different to what you’ve already achieved?  Where you would be able to express yourself in a more expansive dimension?

LR:  I am experimenting with Ambient, and sci-fi style.  Also some aspect, and desire to do some electro with a tr-808.  I have don’t have an AKA but I produce under my own name different genres, for example my album, a free download on Teskoba “The Tragedy EP” is an ambient work.  It is precisely in these experimental styles where I have more room to manifest intellectually, and give a MESSAGE with my music (something more important than programming techniques or mixing methods, mastering, equipment, etc).

Kn:  You’re leaving Buenos Aires in a few weeks – what’s the plan and schedule looking like?  What can we expect in 2012 after the immensely successful year that preceded it?

LR:  Yes, Europe is the place where I want go.  Playing in some events (I hope in some dark basement).  2012 just started for me and I’m feeling the change of age to the next one.  I had a great start in Warm Up Recordings with a remix of Oscar Mulero.  My big satisfaction will be my first vinyl release on my label Subsequent Records LTD.  Waiting for the release date and analyzing the impact of it.  I have in mind to do other releases, with people from the old school, personalities of the past 20 years.

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Links:  Soundcloud  /  Luis Ruiz  /  Beatport

 
This weeks interview guest has been redefining and envisaging his own take on this scene for some 15 years and it has taken an unorthodox methodology in both the visual and sonic worlds to make a difference. It is these risks and digressions that excogitate work as opposed to linear approaches. It’s been this source of afflatus, and a lifetime of musical exposure, from minimal psychedelic house to classical piano and percussions, which has seen him assume the role as founder of Mean Records and Serialism.

Most artists would probably be content with their achievements if they were to claim the aforementioned paragraph as their own, though it’s only a prelude to varying expansive projects – entertaining a correlation between cultural distinctions in said affair will most certainly resonate in our own pursuits. His touring life seems far from finite so grabbing him from his schedule has been a success in itself.

The year ahead for Cesare Marchese (aka Cesare vs Disorder) will surely surpass expectations.

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Kn:  You established the ‘Mean’ label in 2006 as an outlet for intelligent, boundary pushing house and techno.  Its sister label, ‘Serialism’ was brought to life a year later.  What initially fuelled you to start each label respectively?  And looking back now, would you say both labels are comfortably traveling along their paths as initially intended?

Cvd:  The idea behind Mean records started in 2005; I was playing at local East London club alongside my partner Alejandro Ross (aka Rudolf).  Our sound was pretty different from the main hype at the time especially in the UK capital where Electro House, Progressive and Breakbeat were much more common.  We were experimenting, going more for mind psychedelic journeys inspired by labels like Perlon, Contexterrior, Vakant, Spectral, Dumb Unit, Cadenza, Musik Krause, that at that time weren’t so popular yet..

After years of studying and working on music, I decided it was the right moment to release some of my work (followed by Rudolf’s and then by other talented close friends like Ollie Silva aka Canary Fontaine), but I wasn’t yet confident enough to send my music to the labels I was in love with, and Mean was born.  I didn’t have a precise direction in mind, it was just all very natural, going alongside with my productions that were developing slowly with no pressure behind.

Serialism followed a couple of years later (when I met Stefano Pellegrini who is now actually living in Sydney) with a totally different goal… to seduce the dancefloor with slightly more classic sounds of Techno, House and Deep House, with a more dj-friendly structure, but leaving the door opened to experimentation and uniqueness…

I would say that now the labels are travelling on a next level since then, thanks to my accumulated experience and the help of friends and colleagues along the path.

Kn:  Serialism combines the use of visual arts with each release in the form of a video clip.  Tell us about the ideology and importance of having a visual reference to the product?  As you project yourself into the future, what further aspirations do you hold?

Cvd:  I’m a visual artist myself.  I’ve also studied Fine Arts, Design and Moving image (working also with video games and 3d design at a certain point in my life), apart from music, of course.  I was always intrigued by the strong connection between sound and image.  And it is no coincidence that my sister Federica and my girlfriend Fernanda are also very talented artists.  The fact that they become very good friends and started to work together on the image of my labels was instead a kind of luck for me, not having the time to follow full time the branding of the projects.

After months of preparation and brainstorming we started to create together videos for each release, False Manners was born and together with Mean and Serialism (and other artists friends) we created a series of pieces that helped to build up the whole image of the projects.

At the moment I’m travelling a lot worldwide and the new idea is to incorporate footage and experiences of my journeys into the main plan of the labels, keeping the concept of Art behind the projects that sure makes it more interesting and unique, and not only for a “Electronic music following” but also for a wider public that wouldn’t necessary buy the music itself.

Kn:  …as mentioned you place an emphasise on drawing a direct correlation between the art work and the music.  What’s your thoughts on further expeditions into other media that reflect your work cohesively?

Cvd:  We’ll try to optimise the whole package.  Our next step, for instance, after my Asia/Australian tour is to produce a kind of Music video/documentaries where we’ll unite the magic and uniqueness of oriental cultures with the futuristic sound scheduled for the next releases, making the connection between 2 totally different worlds coming together in a special way to coexist in a new dimension that is the multimedia, not thought in a classic way but in a more “exotic” way.  Let’s say like the way Brazilians treat and make Sushi.

Kn:  Combining a high creative production output with the ever demanding schedule of running two of your own labels, and constant touring, must pose its challenges and constantly test your limits.  How do you manage to meet the demands across so many platforms and if there’s any room for improvement you’ve picked on along the way, what’s the best example?

Cvd:  It is actually quite demanding to combine a high creative production with the incessant travelling during the weekends, long tours, the nightlife in clubs around the world and the office work that is behind running a label, and I’m actually dealing with two labels, that have a totally different sound, therefore need a different kind of attention, but yes, it is a challenge for me and the team.  It keeps my mind fresh all the time and I always find room for improvement; when we brainstorm with the girls for the videos, when I work in studio with collegues that have big experience, when, together with my present partner Federico (aka Onirik) we try to follow special marketing ways to come out as catchy (but no cheesy) as possible, experimenting with new ways to brand our projects. There’s always room for learnin’.

Kn:  What projects are you currently working on and what do you have coming up for your current aliases, Cesare Vs Disorder, Cesare Marchese and Queen Atom?  Any release dates planned for your long awaited Cesare Vs Disorder full length album and how are you laying foundations for it?

Cvd:  At the moment I will be touring until end of march.  Now Asia (coming back from Japan, now I’m writing from Vietnam) next step is Australia, Noumea, New Zealand, then a quick come back to Berlin for my bday special party @ weekend club after some holidays in Thailand.  Then out again for USA tour during the WMC month.

In the last few months I was working hard on few musical projects knowing I was gonna tour hard in start of 2012.  I’ve produced a few EP’s here and there as solo (my 4th ep on Stock5 that will be out in March/April), one with Jeremy P.Caulfield (out these days on Dumb Unit as Dynasty ep part2), one for Vakant and some very strong collaboration material with Inxec, with Konrad Black, with Sierra Sam (our new alias “Strangers in Heaven” that you’ll see a lot around in 2012), a couple of EP’s with Mikael Stavostrand, a EP with Walker Barnard. some tunes in compilations and a couple of remixes.  And a project I started a long time ago with Cesar Merveille that will be released by Jin Choi’s Private Gold next month with remixes by Bruno Pronsato and Jin himself.

I’ve also finally finished my debut album.  I’ve been working on it for the past 2 years and if everything goes by plans it will be out by autumn this year.  I already have a lot of proposition and ideas for it, but won’t go in details until I have a final schedule, and don’t expect the usual Cesare vs Disorder sound.

Kn:  You last toured Australia in 2009.  What has changed since then in your sound and approach to DJ’ing?  What can we expect from you this time round?

Cvd:  Some would say that my sound is more complete now, maybe more friendly as my public grows daily you can imagine that 3 years are a long time.  I’ve learned a lot by playing all over the world during this time, mixing genres up in a smoother way and creating journeys that are less uni-directional and more sophisticated from different sides. I will follow the flow naturally, choosing from my box what I think will make the people and myself have a blast.

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Links:  Cesare vs Disorder Facebook  / Discogs  /  Serialism Records  /  On Facebook

Booking:  Harry Klein Booking

Tour Dates:

Sat 25th Feb :: Mean Show/ Cesare Vs Disorder Bday Bash, Weekend Club, Berlin, Germany
Fri 2nd Mar :: Electric Pickle, Miami, US
Sat 3rd Mar :: Kontrol, San Fransisco, US
Fri 9th Mar :: 813, Dallas, US
Fri 30th Mar :: Mean Show, Basing House, London, UK
Wed 25th Apr :: Meet: Surealism, Watergate, Berlin, Germany

 
From the earliest of days launching renegade assaults on the illicit airwaves of the UK’s underground radio network, James Clements aka: ASC, has since dispersed his diversified interests that reconvene effortlessly.  We can take what’s ever becoming a deeper passage back in time to ’97 and having been engaged in everything from drum & bass, techno and Motown, it comes as no surprise that these varied approaches coexist and even cooperate in fusing these elements – his own label Auxiliary is a testament to this, a child of his previous imprint success Covert Operations.

Where’s this all going?  The heavy textured movements could certainly assume the role of an ambassador compiling policies dictating humanities advancement, alongside a continued perseverance in field work with film scores and the engineering behind a portrait of synchronised media.

James’ creative world refracts a relentless energy and this weeks broadcast reflects that.  Full support at our end.

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Kn:  You’ve come a long way since the days of pirate radio in your school years.  The entire concept played an integral part in how to approach music, can you tell us about how that scene affected you and what you learnt from it?

ASC:  In all honesty, I don’t think it affected my approach at all.  The only thing I learnt from it were the names of tunes that I had otherwise no access to at the time! It was a lot of fun though, especially being a 15 year old kid still at school doing a pirate radio show.

Kn:  You’ve produced a variety of works over the years across various genres, no doubt a derivative of said earlier experiences.  A few prominent techno releases and projects have come about of late – how do you work on your approach to varying sounds, is it just all the one world refracted through a prism?

ASC:  I couldn’t have said it better myself.  It really is just one world, one vision, just refracted through a prism.  Each light that is dispersed is just another part of my sound.  Obviously when I’m working at 120 and the structure is 4/4, the thought into how the music flows is different than it is when I work at 170 and the beats are broken up more significantly, but I still see it as shades of many different colours of my sound.

Kn:  As far as studio time is concerned, is there anything fresh at the moment that you feel is defining or inspiring different avenues of thought whilst you’re working on production?

ASC:  Nothing immediately springs to mind.  I find going over previous techniques and DSP chains that I’ve created and then approaching them differently, or perhaps just taking a step back and thinking outside the box instead of my usual methods can bring great results.  It’s not always about getting new gear, new plugins etc.  It can be as simple as re-inventing the wheel, so to speak.

Kn:  You’re currently releasing the majority of your work on your own label.  How does the label fit into the broader image of what you’re about – how did it come about and where is it going?

ASC:  I’ve always loved doing my own thing, so when Auxiliary originally came to life, I had this whole vision of what it would be all about and where it would fit in with what I was currently doing.  I think if anything, it’s gone beyond that, into more deeper realms than before.  The label originally came about when I was still with Nonplus.  We’d decided that it would be good to do another label, which I was going to start with Consequence originally.  In the end he decided the time wasn’t right for him, so I decided to go ahead on my own and came up with the name Auxiliary.

As for where it’s going, it’s hard to say.  I see it as something natural and organic.  It’s almost got it’s own lifeform and dictates it’s own path.  I very rarely sign a piece of music just on the spot, usually it has to ‘speak’ to me, and some tracks just say Auxiliary when I hear them.  With my own work, it’s slightly different, as I don’t really write with the label in mind.  It’s usually a conscious decision after I’ve let the track seep into my brain over time!

Kn:  What’s on the horizon from here?  You’re already working on film scores outside of a ‘normalised’ routine, is it one of the things you’ll be spending more time on or?

ASC:  Very much so.  This is a where I feel my future lies and I’m looking more and more into getting that one break that I can then use to take my work to the next level.

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Links:  Facebook  /  Buy Auxiliary  /  Beatport

Drugged redshifts, alien frequencies and the implementation of technology capable of conquering the ocular cosmos would be an appropriate precursor for a dissociative narrative and our host this week presents the scenario in a confronting medium.  The modern classic world of Angelo Badalamenti, Klaus Schulze and Ennio Morricone set a precedent; a world’s indispensable depth comprised of a persistent battle between love and hate.  The collateral fragments of this conflict have assisted the release of varied works across imprints such as Prologue, M_REC Ltd. and Electric Deluxe, the latter of which he now calls home.

To be honest we’re still somewhat perplexed as to how he’s acquired the time to complete the projects that have arisen from his headspace of late, most of which endorsed the dense evolving landscapes that have inspired our vista on submergence.  The parameters within which his work resides are still only a tenant of his expansive disposition – we’re only visitors.

Our broadcast host is Giorgio Gigli.

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Kn:  Ideas and venturing into rolling cognitive terrain play a big part in your productions and performances.  What fascinated you when you were younger that inspired this deeper thinking?

GG:  I was largely inspired by emotional and intimate states.  I can say that my main source of inspiration is Love.  Love as an undefined and metaphysical entity, a mysterious but delightful experience who every human experienced during life.  So I was early inspired by ambient music, modern classical and dramatic soundtracks (like Angelo Badalamenti Klaus Schulze, John Carpenter, Brian Eno, Ennio Morricone, Goblin and Tangerine Dream), all the music I can feel particularly emotional.  After them, I did my first approach to Techno listening artists like Plastikman and Speedy J and labels like Plus8 and Probe, I had early understood and analyzed the strong link between Ambient and Techno.

Kn:  Your sounds vary from ominous deep landscapes to intimidating assaults.  How do you think of these two very different sides to you regarding the way you express yourself?

GG:  Yes.  I have these two different sides in my productions.  They are meant, at first, as the desolating solitude of human condition and, in the second phase, the assault of love against anger.  It may be intimidating, of course, since it’s a desperate but powerful scream of Love in a world of hatred.

Kn:  The idea of ‘tomorrow’ isn’t an easy one to approach for some when it comes to incorporating it in music.  How do you implement that doctrine in your own work? (Feel free to go off on your own tangent on what is a vast subject)

GG:  This question brings me memories of my track “Il futuro è solo il ricordo di uno stupendo passato” (“The Future is just the memory of a beautiful past”). It’s hard to translate music in ‘tomorrow’ since it depends on what idea of tomorrow we have.  It’s a subjective and personal interpretation.  For many of us, the idea of tomorrow is something new and never experienced during the past.  For others, the future is a partial alteration of the past that joins actual dynamics and thoughts.  For me it’s a bit more articulated since I think that future is just a projection of our aspirations and desires inside a better context.  When I think to the future, I think to hope.

Kn:  We expect 2012 to be even bigger than the year we just closed doors on.  We’ve seen you successfully release quality records this year not just by yourself, but also the collaborative products have been cause for attention too.  Have you thought much about what you need to achieve with respect to your personal aspirations?  Anything else you feel the world would enjoy reflecting on?

GG:  2011 has been an important year for me and for techno music in general.  A lot of good stuff was released. It’s a great time for techno and I’m fully concentrated to make 2012 bigger than 2011.  There’re so many great techno clubs in Europe and around the globe so I’m happy and glad of them.  It’s not easy for a producer to understand what you need to achieve personal aspirations.  I think it’s a matter of passion and love in the full respect of other artists.  It’s not a comparison matter, I think there’s enough place for everyone, everywhere.  Everyone is great for what he does, if he does them with love, sacrifice, passion and hard work.

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Giorgio Gigli’s podcast has been realized using vinyl with 2 Technics SL-1200 MKII, 1 Technics SL-DZ 1200 and Ortofon Concorde Pro cartridges, 2 disc stabilizers and an Allen & Heath Xone series mixer.

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Links:  Giorgio Gigli  /  Electric Deluxe  /  Zooloft Records / Beatport

A condensed pulchritudinous outlook on anyones inhibitions arguably sets a scene for an anarchical foray into futurity, and it’s this idea that presents every artist with the ominous prospect of making a difference. It’s the lifeline that we attach ourselves to, one that we find within ourselves that ultimately results in self-procurance – this weeks guest, David Brown, effortlessly acknowledges it. If you had the opportunity to attend Fabric on the fifth of November this year, you would have witnessed James Taylor’s final performance alongside Brown, though it stands to reason that both will fulfill their reverie.

It’s been years of commitment and achievement that commenced with the EP “Bueno” [Swayzak Recordings, 1997] which brings us to this time and place. Since then, the releases of ‘Loops From The Bergerie’, ‘Some Other Country’ and ‘Snowboarding In Argentina’ have been featured prominently throughout the past decade and rightly so. The live exploits that ensued only reinforced the denudation.

This weeks special broadcast will put things right, in your own place. You’re with Swayzak.

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Kn:  You guys mentioned in the past that your friends had to give you a subtle push to release your first work back in ’97.  What were you playing around with in those years and what was going through your heads that made you slightly apprehensive about taking the next step?

S:  Mainly playing around with samplers, beer and drug types – the results were our first album + a series of 12″s but lack of confidence I guess, we weren’t the networking types and we didn’t really fit in anywhere with our sound, we weren’t hipster dj’s and didn’t frequent clubs.  We ended up being lumped in with the british tech house scene something that we were never part of, only we were british and made interesting music!  We never tried to push our music on anyone, it was a series of lucky breaks that got our music out.  Mind you, we financed ourselves and very nervously waited for the results.  We had no clue and you can see this in our first EP artwork – it’s a mess!  We mailed a copy to Laurent Garnier, he phoned up and left a message along the lines ” beautiful and moody” things started to get exciting…

Kn:  Fusing different musical interests that the both of you had would of created an interesting dynamic while you both found common ground.  Was there any particular trait that allowed everything to fall into place and is it something that’s constantly evolving?

S:  At the start our styles were different, James was into deep house and hip hop, I was into ambient and Joy Division, but we worked well together – he brought the funk I brought the darkness.  We both went to the same gigs and drank in the same pubs, we were best mates really linked by our music work.  He would be cutting up beats, I would drop the basslines but after a while the roles reversed.  I used to sample Cocteau Twins, he would sample Bob James so it was an odd mix!

Kn:  …and on that note you’ve incorporated the use of vocals more than once or twice, something others perhaps shy away from.  You both seem to know how to do it right, so where do you think this originated from and what thought processes are involved as opposed to that natural instrument being absent?

S:  Listening to pop music since we were kids, Top Of The Pops etc.  We got a bit bored doing instrumental stuff and chance meetings with a couple of singers got us thinking.  Kirsty Hawkshaw was great, Cassy too, Klaus Kotai, a Berlin legend but I don’t know where he is now!  Richard Davis is “the” voice!  We just told them all – do what you like, we don’t produce that way…

Kn:  On the topic of evolution, how do you feel things have panned out as far as your personal growth is concerned?  If you could reflect on one or two things for us that played a part in who you are now, what would it/they be?  (It’s a pretty broad and deep concept so feel free to go off on your own tangent, that’d be great!)

S:  My belly has grown, my face has fattened, I think I am a better producer and have a good ear for a tune and a ear full of tinnitus too, a better knowledge of music.  I learned a lot not from magazines or youtube but from experience on the road and in the studio and that is important, it’s vital to gain experience.  I didn’t know how to mix records, some would say I still don’t, but fuck em it’s about the music you play and the feeling you create!  That’s not something you learn out of a magazine.  I don’t really listen to digital releases which I could get for free but prefer to support the artist / label by buying their records.  I shop and this is an important point – we need records, we need shops.  I don’t mind others playing digital, that’s just progress but I love vinyl so if it’s not on vinyl I don’t play!  Production wise, I have been taking my time to come back with some strong music, and that’s what it’s about…

Kn:  Not many artists have released several quality long players over the years so it must always be a challenge conjuring up the next project.  What’s in the pipeline, or perhaps more importantly, what would you like to venture into that isn’t a realisation as of yet?

S:  2 new albums next year I think but its been 5 years since our last so in fact this is a new dawn for Swayzak.  My partner quit the music industry so I am solo now but not afraid.  I have been taking time over this, it’s about interesting people with good music, not fodder that is big for 5 minutes.  Some killer new tracks with my friend Richard Davis coming too…

 
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Links: Facebook / Beatport / Construct Industries

 
After headlining one of Australia’s more successful festivals in the form of Subsonic, our interview guests have left a lasting impression we’d like to think, one that’s naturally mutated from the earlier incarnations of Son Kite and Trimatic.  Key components of improvisation, meditation and consistent faith have been integral in their successes – appearances on Cocoon, KNM and mule electronic is more than reasonable evidence.  That’s of course all prior to their upcoming 12″ on Traum as well as the heavily anticipated relapses into the discourse of an aforementioned alias.

Their perspective on life should be something that’s admired, and in their own words, life should most certainly dance through you.  We couldn’t agree more.  Sebastian Mullaert and Marcus Henriksson are the clandestine soliders that configure the front that is Minilogue.

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Kn:  You’ve previously mentioned that you draw influences from both the techno and trance scenes alike.  What in particular influences the Minilogue sound, and in retrospect have there been any special moments that have played a major role in influencing the development of your sound to date?

M:  We might have mentioned that we draw influence from trance and techno.  But that was before… and everything is changing and developing.  We get older and grow as human beings so I would now answer that life and this universe is inspiring us now. A major change in influence and development was when we started to feel more and think less… we started to “jam” and improvise everything instead of planning what to do.  Our daily meditation has made a big difference in our music as well.

Kn:  You’re currently managing two very different projects; Imps and Minilogue.  Would you care to explain the differences for those who don’t know and how does the production process vary for both projects?  What’s coming up in the future for these two projects?

M:  IMPS was a project we started together with two friends from Melbourne, Ian and Phillip alias Decoy.  They came to Sweden a few years ago and we had a jam session together.  We made an album out of the session and released it on Mule records.  Very improvised and jazzy sound to it… with no goals in mind.  We don’t have anything new coming with this project… yet… but who knows! Minilogue is our own main project (Sebastian and Marcus) and we make everything under this name… techno, house, ambient, jazz… well… music.  We’re releasing a new album with Minilogue next year… hopefully beginning of next year.  We also have a new 12″ release on Traum Schallplatten in January.

Kn:  Minilogue encompasses a depth in musical ideas that seem creatively free, as displayed on the Animals album released on Cocoon in 2008.  From dance floor oriented organic techno to lush ambient electronica, how do these very different sounds intertwine with your own thoughts on the ongoing mission as a single entity?

M:  Nowadays we’re trying not to think so much and feel and experience things instead.  So when we feel inspired and creative we sometimes use this creative energy and put it into music without thinking what to do with it… just letting the energy flow through us! In this way we never really know what is coming out… and that’s soooo nice!!!  It’s still us as an single entity but with a more diverse outcome.

Kn:  Your own imprint under the same name was set up as a concept label where you freely release your own material.  So far we’ve seen great releases from the label which adopts a pre digital philosophy, whereby labels used to release both A side and a deeper B side track.  Tell us about the decision to stick to such a risky format?  Any new releases we should be looking out for?

M:  It is like you say… a concept label where we’re free to release whatever we like without thinking of sales and profit.  We only print a limited amount and make it more of an art thing than a traditional label thing.  In this way we don’t feel any risk since we’re not looking for profit.  If we’re not looking for gain there will be no pain.  At the moment we don’t have any new release planned… we’re putting all our energy into the new album.

Kn:  You’ll be returning to a European winter after leaving Australia.  Is the quieter period of this season a time where you focus on different aspects of your lives and sound and is there anything in particular that you want to accomplish before the curtains of summer 2012 are drawn?

M:  We’re moving away from the future driven way of living since we believe this is something that distances us from life, what is now is never away and we believe our purpose is to meet what is now as honest as we can.  When we get back home we’ll share some time in the studio together and finalize the last parts of our new Minilogue and Son Kite album, after that we don’t really know.

Kn:  You’ve just played the Subsonic Music Festival, just north of Sydney.  An outdoor event that’s perfectly conducive to the deep hypnotic techno sound of Minilogue.  How did you perform in terms of the live construct?  Surely there must be a level of improvisation going on between the both of you when you play live? Are you showcasing any new material for your Australian tour?

M:  It was an amazing festival and we had a super great time while playing.  Our liveset is pure improvisations, we have prepared a way of playing that enables us to create new soundscapes and rhythms while we’re playing, working to get into this very moment; creating a possibility for the people dancing to the music to move into the present moment; the only place where a deep experience can take place.  This is the main reason why we play live.

Let life dance thru you!

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Links:  Minilogue  /  Beatport  /  Facebook

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A few more words worth hearing from Minilogue at Mutek 2010…

We’ve always found a sort of comfort in confiding in electronic assassins and the silent requiems that are a result of their pursuits, perhaps none more so than our broadcast host this week. The birth of his path dates back to the vibrant cultural paroxysm that was Detroit in the mid to late 80′s which choreographed a timeless blueprint thats true soul is easily recognisable in any performance or release that’s made its way from his world.

Now even though he’s confessed that much of that segment in his life has been pseudo-erased, unintentionally or otherwise, it delivered the infrastructure that supported the exposure for ‘The Autonomous Music Project’, sub explorations with Echospace/CV313 and one of the standout records of 2011 ‘Hash-Bar Loops’ on Soma – that’s all without even grasping the  alias’ and back catalogues that encompass various tangents.

We’ll terminate any further projections as it’d only derail the exercise of deploying the decoys that entrench themselves in an ethereal saga. You’re with Rod Modell, aka: Deepchord.

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Track List:

01. Rod Modell “Pressure Drop” (Unreleased)
02. Gez Varley “Soul Gate” (Force Inc)
03. Ghislain Poirier “Orange Brûle” (12k)
04. Giriu Dvasios “Vesu – Quantic Mix” (Cold Tear Records)
05. Grit “Ride” (mnml ssgs)
06. Glimpse & Alex Jones “True Friends” (Kindisch)
07. Itmar Sagi “Mr Bandi – Original Mix” (Drumcode)
08. Phillipe Cam “Karine” (Kompakt)
09. Merv “Melted Vein” (Dancecop)
10. Pacou “All It Takes” (Cache)
11. Female “Viva” (Downwards)
12. Mike Dehnert “Without” (Fachwerk)
13. Murmur “Mesh” (Meanwhile)
14. Scuba “Aesaunic” (Hotflush Recordings)
15. The Juan MacLean “A Human Disaster – House of House Mix” (DFA)
16. Octal “Heavy Petting” (Thule Musik)
17. Haiko Laux “101/106″ (Tresor)
18. Pacou “Minus – MLZ Remix” (cache)
19. Pacou “All It Takes – Huckaby SYNTH Mix” (Cache)
20. Orlando Voorn “Planet Ultra” (Cache)
21. Mark Ernestus “Meets BBC” (Honest Jon’s)
22. GoGooo “Dérive” (mOAR)

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Kn:  Being from Detroit, you wouldn’t of had to look far to find inspiration around you and get caught up in a revolutionary movement developing.  How did things play out in those years for yourself and what did you take away from the relationships you forged?

DC:  It’s funny… I think I’ve blocked out much of this period.  I grew up in Detroit.  I went to school there and made friends there.  I was at the epicenter of the “techno-revolution” there.  I graduated from high-school in 1987, and went into art school after, so I was living in the midst of it all in the late 80’s and early 90’s, and it was influential.  However… not much has happened since.  It’s sad for me.  It seems like many European scenes took over the development of this music, and they have been working it since.  Detroit could have been like Berlin.  People from Berlin were traveling to Detroit in those years to study the model.  They went back with their notes and started vibrant scenes.

Why couldn’t Detroit grow the seed it planted?  I think there was too much ego and people trying to run with the ball, and score by themselves and consequently ignoring the rest of the team.  I think all the successful techno scenes were developed by teams rather than individuals.  If the Detroit techno musicians viewed themselves as part of a team, rather than one guy trying to outdo the other…. we’d have something special today.  I really think Mike at Submerge understood this, and tried this, and it looked like it was going to work for a minute, but then it seemed to unfocus.

Photo by Yves Marchand and Romain Meffre

I learned allot there, and made many friends.  Since the 1980’s, Detroit has cleaned up considerably.  Lots of face-lifts, and government grants to clean up the urban decay and blight.  It looks prettier driving through, but I think it’s more dead than ever.  In the midst of “1980’s filthy Detroit”, there was a vibrant art-community drawing from the aesthetic of the city back then.  Great things were coming out of there that were fuelled by the gotham-city darkness.  Now it’s allot more appealing to national chains and developers, but that inner glow is weaker.  I find myself wanting to go there less than ever, and hardly do anymore. Detroit’s soul has been sold.  Berlin may be there in 5-7 years too.  The club scene there that’s making it so vibrant will be the first thing to go once big-money and developers invest more in the city.

Kn:  Like your peers, there would of been one or two defining moments where you felt as though everything clicked and you never looked back.  Anything that still stays with you to this day that makes you smile and keeps true to your own perspective on music?

DC:  I think that viewing my sound outside of a musical context was profound and liberating.  I don’t consider what I do music.  Maybe more sound design.  I really never wanted to create music.  In fact… I always pondered if I was a music hater, or a music lover.  Probably a music hater.  I view what I do as creating soundscapes for stimulating higher thinking.

20 years ago, I was involved with the Hare Krishna’s.  I would chant at the temple everyday.  I loved this and looked forward to it.  It’s all I wanted to do.  I would go into the temple, and start chanting the mantra, and about 10-15 minutes into it, something would snap in my brain.  Chanting this loop over and over caused a profound positive change in my head.  My system was flooded with endorphins, and I had a euphoric sensation like floating in space.

Later, I moved away from the Krishna’s and wanted to recreate this sensation.  I found I could do it by making these loops in my studio.  A similar effect was obtained.  The looks on peoples faces in a crowded club at 4am is extremely similar to the faces at 4pm in the Krishna temple.  The Krishna’s mantra is causing the same psychological effect as a club’s sound system.  My job is to make new software to run on the club’s hardware.  This is how I view it.  I think understanding this loop-aesthetic via my association with the Krishna’s was profound for me.  I like repetition.  I remember I didn’t listen to anything but “Music For 18 Musicians” by Steve Reich for about a year.  Listening to that record intensely for a year was also profound.  But interestingly, for inspiration… I look to artists outside of the musical world.  I’m more inspired by people like David Lynch and Andy Warhol.  Not necessarily by the art they’ve created, but more by their pioneering spirit, and focus.

Kn:  You’ve now moved on from Detroit – was the relocation merely a convenience or was it the result of wanting to expand your own aspirations and vista on where you wanted to proceed?

DC:  Some people are highly influenced by their surroundings.  Others can live anywhere and it has no effect.  I’m the type that’s influenced by surroundings, and found Detroit uninspiring.  The city felt overwhelmingly dreadful.  It was really a downer.  I felt like I needed to get out before I was suffocated.  It wasn’t out of convenience really.  It may actually be more convenient to be there.  As time goes on… I actually would like to be more isolated from a metropolis.  I think a small community in Estonia sounds good right now.  Or Suomenlinna Island near Helsinki.  Actually, in recent years, I’ve become fond of Holland.  Personally, I find the people there to be most “normal” to me.  Their mannerisms and overall way of life seem most similar to mine.  I feel less like a tourist there than anywhere else.  I actually feel (considerably) more like a tourist when I’m in Detroit.  I never felt more like I was home then when in Holland.

Kn:  On the production front, understandably, you have a close affinity with analogue gear.  What’s the situation like today if we take a virtual tour of your own studio space, and what gear is still getting a work out and why?

DC:  I’m actually breaking away from hardware in favor of a more computer-driven approach.  It’s funny… many people make a big deal of the analog gear.  The truth of the matter is… I only used hardware because I didn’t have a computer.  I got my first computer 4-5 years ago.  I was never a computer person.  I bought a Prophet 5 in 1989 for $350, and the only reason it was that expensive was because it was mint condition.  If it was a little beat up, it would have been $250-$300.  That was the going price for a Prophet 5 in the late 80’s.  Back then, I bought three TB-303’s for $120.  I went into a pawn shop, and they had 3 of them.  I asked “how much”, and the guy said “if you take all 3, I’ll do $40 each”.  Nobody wanted this stuff back then.  Back then an Ensoniq Mirage was $2500 (and there was a waiting list at that price…. when the music store got them in, the whole load was gone same day).  Digital was the future.  Everyone was dumping Prophet 5’s for DX7’s.  So I had a load of this stuff because it was cheap.  It only became insanely priced in later years.  Then when all the analog gear became expensive… I started stocking up on Linn-Forat 9000’s and SCI Studio 440’s because now, those were cheap.

So anyway…. it wasn’t really a conscious decision to use analog gear.  It was just because it’s what I had.  I think if I had a computer at the time, I would have used that instead.  In the late 80’s, if I could have afforded to dump all the analog stuff and buy a Mac + Samplecell cards / Sound Designer II / Turbosynth, I would have, but that cost $5000 at the time.  So I stuck with the “junk”… TR808/909, Prophet 5’s, Oberheims etc.  In the future, I would like a studio space, that looks like a white cube, with no gear in site.  Then I decide to work on music, and take a computer out of a hidden drawer.  It’s about Zen.

Honestly, the computer-route IS sonically crappier.  It’s true.  However…. when you consider all the pluses / minuses of hardware vs. software, the plus list is 2 pages long for software, and one sentence long for hardware (sounds good & fun).  That being said… I’ve only used a software synth in one song ever (SYNTH 01 Electromagnetic Dowsing – FM7 test driven by my SND SAM-16 sequencer).  But I do plan on more VSTi experiments in the future.  But for now, I do like the computer environment for recording, wav editing and FX.  I think a computer is the ultimate sampler.  I’ve been porting my old Linn 9000, Studio 440, Fairlight IIx, and EIII libraries into the computer over the past few years.

Kn:  You’ve undertaken several projects in the past, notably conjuring up various alias’, some of which have now been terminated.  What changed on the concept front – allocating the vast sounds of your back catalogue would of meant something to you, a meaning you no longer felt relevant or..?

DC:  I guess it’s just different names for different moods / styles.  For instance… I did a post-industrial ambient project on Kim Cascone’s Silent label in the mid 90’s.  It was processed shortwave radio and MS20 growls.  This would never fit on DC.  So I guess it was more to delineate between different sounds.  I would actually like to revisit some of these side projects.  I feel like some of theme weren’t fully realized conceptually, and would like to go back and complete the original vision.

Honestly, right now I’m most into field recordings.  It’s almost all I play in my home.  I carry a small wav recorder with me everywhere, and record whenever I can.  I like playing these all day around the house while doing other things.  Like the Tokyo recordings in Liumin and the Amsterdam recordings in Hash Bar Loops.  It’s better than photos for recalling a place.  But it’s an acquired taste.  When I play these recording for friends, they don’t get it.  But if you do get it, and can start to enjoy field recordings… you really learn to listen deeply, and this is a skill needed for any musical / sound production.  So listening to field recordings can be a great training for all musicians.

Kn:  The question begs – where to from here in the broader scheme of life?  If we get the chance to cross paths in some years, which I hope we will, what world do you envisage for yourself?

DC:  I would say submerged in the art world more than the music world.  I actually always hated being considered a musician.  I thought it was way too limited to describe what I do.  I like to create conceptual sound worlds.  Massive environments.  Enveloping audio fields.  Without much regard to melody, measure, etc.  My audience has been clubs over the years, but honestly… I feel like it belongs more in an art gallery.  I love how at Sonar Festival (in Barcelona), how the event takes over local art museums.  When I go to Sonar, I never spend any time watching musical acts.  I spend all my time absorbing installations in museums.

I think as I get older, I’ll probably become more of a hermit, living in the countryside and working on music, photography and video in equal measure.  Maybe Netherlands since it’s the place where I feel the most “in place”.  I guess life is an adventure full of possibility.  We’ll see how it unfolds.  I know, thought, that I’ll always be creating, because to me… it’s the key to self-fulfilment.  It’s a purpose for being here.  It’s my contribution to society.  So I can’t stop, or there would be no reason to go on.

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Links:  Beatport  /  Booking via Apelago