Monday, December 18, 2006

Pudeltanzen



I'm throwing a party next Saturday (December 23) in Pulkvedis - the special guest is DJ Ruftata from the legendary Hamburg's Golden Pudel Club. He's a resident-DJ and, as far as I know, also responsible for the artistic programming there. I've heard him couple of times in the Pudel - his music selection was just fucking awesome. I hope it will work the same way nevertheless put in another context (well, the Pudel is a really special place indeed).

Besides him, me, as well as DJs and friends of mine Ivars Mednis and ZeDmitry gonna make their best. Expect minimal, electro and everything in between. All that "new electronic dance music", ya know. Should be funky and kinky. One day before we actually launching our netcords.net project, but later about that.

Wednesday, December 13, 2006

Intervija ar Tobias Thomas (Kompakt Records)


Pirms uzsākt sarunu, meklēju atkritumu tvertni, kur izmest košļeni. Viena tāda stāv, taču neesmu drošs, vai tā paredzēti šādiem mērķiem, jo iekšā guļ kaut kādi diski un matricas. Taču Tobiass tikai nosmej, lai metot vien, – tie esot izbrāķētie demo diski: “Ja tie ir sūdīgi, trakš un laukā!”

Ir kāda atbildīgā persona, kura tos vērtē?

Jā, domāju, ka pamatā to dara Volfgangs [Wolgang Voigt], Maikls [Michael Mayer] un Jirgens [Jürgen Paape]. Viņi ir atbildīgi par leiblu.

Tātad viņi ir atbildīgie par leibla muzikālo saturu?

Jā, struktūra ir tāda, ka Volfgangs, Maikls un Jirgens ir kompānijas īpašnieki, bet Rainhards [Reinhard Voigt] ir tāds kā “klusais” īpašnieks, kurš strādā ne tikai kā mākslinieks, bet arī uzmana naudas plūsmu. Un tad piemēram viena meitene nodarbojas ar leibla menedžmentu, strādā ar visiem pārējiem leibliem, kas iesaistīti distribūcijā, un sazinās ar māksliniekiem, kuri izdodas uz kāda no Kompakt leibliem, saskaņo relīžu datumus u.tml. Par mūziku gan galvenokārt atbild Volgangs un Maikls, Jirgens ir atbildīgs par ierakstu veikalu – tas ir tas džeks, ko mēs satikām lejā, – ar gariem, blondiem matiem, izskatās pēc 70. gadu futbolista.

Jūs sākāt kā maziņš plašu veikaliņš, vai ne?

Jā, tā bija. Tas veikals bija uz citas ielas, taču netālu no pašreizējās vietas. Tas bija maziņš, mājīgs, diezgan andergraundisks, tolaik gan to nesauca par Kompakt, bet gan par Delirium. Tas bija daļa no Delirium izplatīšanas ķēdes, kas bija arī citās Vācijas pilsētās. Volgangam, Rainhardam, Jirgenam un Jergam [Jörg Burger], the Modernist, toreiz piederēja veikals. Kad veikals atvērās, tolaik uz Ķelni pārcēlos arī es un Maikls. Pēc diviem gadiem viņi atdalījās no Delirium, pārvācās uz vecpilsētu un izdomāja vārdu Kompakt, jo vēlējās savu identitāti.


Starp citu, kādēļ tieši Kompakt, vai tam apakšā ir kāds stāsts?

Nē. Tā ir tikai skaņa. Man liekas, bija vairāki vārdi, ko Volfgangs bija uzrakstījis uz papīra lapas. Svarīgi bija, lai nosaukums labi skanētu kopā ar vārdu “Ķelne” – Köln, kaut kas ar “K”. “Köln Kompakt” kopā skan labi. Volgangam patiesībā svarīgas ir visādas popkultūras lietas – krāsām ir jāsaskan, atbilstošam ir jābūt dizainam, mūzikai, konceptam. Visam jābūt skaisti izgatavotam un ar labu domu pamatā. Laikam viņš meklēja ļoti universālu vārdu un ne pārāk izmantotu pirms tam, bet arī tukšu, lai to pēc tam piepildītu ar saturu, un tā viņi izvēlējās Kompakt. Es gan atceros, ka sākumā man tas Kompakt nemaz nepatika, tas skanēja tā garlaicīgi, taču, kad tas sāka savu dzīvi, nosaukums sāka likties labāks un labāks. Un tagad tas ir liels brends.

Sākums bija 90. gadu sākumā?

Jā, tas bija 1993. gads, un 1995. gadā radās Kompakt, bet 2000. gadā, laikam, pārcēlās uz šo jauno vietu, jo vecajā veikalā un birojā vairs fiziski nepietika vietas. Tagadējā vieta ir ļoti piemērota, domāju, ka tuvākajā laikā viņi ari nepārvāksies kur citur, jo nav jau plāna kļūt par meidžorleiblu.

Un tomēr – savā ziņā Kompakt ir liels leibls…

Protams, tāds meidžor neatkarīgais leibls.

Bet kas bija šādu sasniegumu pamatā? Veiksme, grūts darbs vai tikai laba mūzika? Kāpēc cilvēki arvien vairāk un vairāk sāka pirkt Kompakt plates?

Es domāju, ka tas bija viss minētais kopā. Tas bija smags darbs un aizrautīga pašatdeve. Piemēram, distribūciju uzsāka Maikls, un acīmredzot viņam ir laba “roka” un gaume, kā mazu lietu pārvērst, izaudzēt lielākā. Viņš izvēlējās mūziku, būdams labs dīdžejs, kā arī viņš strādāja ierakstu veikalā kādus piecus gadus un pazina katru ierakstu un leiblu, un šīs pieredzes rezultātā viņš nonāca pie atziņas, ka vajadzīga jauna distribūcijas ķēde, kāda pirms tam nepastāvēja. Tolaik bija Intergroove, Discomania u.c., bet viņi necentās komunicēt tāda veida mūziku, tādu minimālu mūziku, Ķelnes mūziku vai vienalga, kā to sauc. Viņš pamanīja, ka citi cilvēki taisa līdzīgu mūziku un ka viņiem vajag tādu kā “jumtu” un palīdzību. Un šāds tīkls bija viens no pamatiem sekojošajai popularitātei. No otras puses, Maikls un es, un citi ārtisti, vēlāk arī Superpitcher, mēs izlaidām mūziku un arī daudz dīdžejojām, tā izplatot šādu “Ķelnes” mūziku. Cilvēki sāka mūs un mūsu darbus identificēt ar pilsētu un savā ziņā ar īpašu dzīvesveidu un attieksmi. Protams, arī liels nopelns ir pašiem ierakstiem, īpaši Volfganga – Mike Ink., Studio 1, arī ieraksti uz Force Inc., un kad radās Kompakt, tika iedibinātas dažas “pop” lietas, piemēram, relīžu sērijas un krāsainas 7 collu sērijas utml. Cilvēki uz to atbildēja, jo tas bija diezgan netipiski, īpaši jau vācu tehno leiblam, ka leibls nolēmis kļūt par pop leiblu, bet tādu krutu. Kā piemēram Warp… hmmm… nav nemaz tik daudz piemēru. Tas bija atraktīvi un seksīgi. Turklāt, plašākā mērogā, Ķelnē ir daudz citu leiblu, producentu, kā Groove Attack un A-Musik. Bija tāda kā reakcija, kas attīstīja visu pilsētu. Cilvēki citās valstīs pievēršas noteiktām lietām, piemēram, tā kā agrāk mēs pievērsāmies Detroitai…

Tas gan, bet tagad amerikāņi labi zina Kompakt…

Jā, arī Japānā… Kādreiz bija aktuāli teikt: “O, tas nāk no Londonas!”, vai, piemēram, mums patika mūzika no Mančesteras. Un tagad cilvēki mīl mūziku no Ķelnes.

Tātad pastāv saikne starp mūziku un vietu, kur tā radīta? Vai pilsēta padara skanējumu unikālu savā ziņā? Vai tomēr Ķelnes “skaņa” ir tikai mīts?

Hmm… tas ir ļoti vecs mīts un vecs jautājums. Mēs parasti sakām, ka pastāv tāda Ķelnes skaņa, vai, ja cilvēki domā, ka tāda pastāv, tad – mums tāda ir. Tas tā no mārketinga viedokļa –, ja jūs meklējat Ķelnes skaņu, mums tāda ir. Mēs nesakām, ka tādas nav, kāpēc kaut ko iznīcināt, par ko patiesībā cilvēki runā. Tāpēc mēs atbildām: “Jā, protams, ir tāda Ķelnes skaņa, un mēs to veidojam”. Bet saprast ar to jau var dažādas lietas – var teikt, ka tā ir tas “bungas un bass” vai tā pop lieta vai tas minimālais skanējums vai pat ambient stafs. Ar to es vairāk saprotu sajūtas mūzikā un attiecībā pret to, un Ķelne ir ļoti emocionāla un “izjusta” pilsēta. Cilvēki ir sirsnīgi un atklāti. Tās protams ir klišejas, taču galu galā pilsētai ir savs tēls, un tas savukārt atspoguļojas mūsu mūzikā. Un ikviens, kurš zina Hamburgas, Berlīnes vai Minhenes mūziku, zinās, ka šī tomēr ir citāda. Jo cita pilsēta, neskatoties uz to, ka tagad visi taisa elektro, minimal vai vienalga, kā to dēvē. Pat ja tas nāk no Maskavas, bieži mūzika skan līdzīgi, taču, iespējams, atšķirība ir pasniegšanas veidā. Es domāju, ka šī Ķelnes skaņa savu atpazīstamības virsotni sasniedza jau pirms vairākiem gadiem, un pēc tam notika starptautiska izlaušanās. Sākumā bija jāatrod pašiem sevi, noformējās komanda, pēc tam visā pasaulē mums radās domubiedri un partneri, un viņi ir šīs saimes locekļi un draugi, nebūdami no Ķelnes. Tā nav tikai pirkšana un pārdošana, licencēšana u.tml. lietas, bet gan kas vairāk.

Tomēr zīmīgi ir tas, ka Ķelne ir slavena tieši ar saviem daudzajiem minimal leibliem un producentiem. Kāpēc to ir tik daudz?

Manuprāt, mūzika ir arī sociāla lieta, tā izplatās starp cilvēkiem. Ja cilvēki simpatizē viens otram, kaut kādā ziņā viņi kļūst līdzīgi – līdzīgi ģērbjas…

Tātad scēnas lieta…

Jā, tā ir scēnas rašanās, tāpēc, ka cilvēki patīk viens otram, pavada laiku kopā un jūt, ka viņiem ir kas kopīgs. Mūsu gadījuma scēna nav kā pankiem vai modiem, kuriem bez mūzikas svarīgs bija arī stils, ģērbšanās, frizūras u.tml., bet gan drīzāk mums ir līdzīgs redzējums un idejas attiecībā uz elektronisko mūziku. Kad mēs sākām 90. sākumā, tā bija ļoti jauna lieta un neviens pat neiedomājās, ka ar to varētu pelnīt naudu, ka varētu iztikt, taču daudzi gribēja taisīt mūziku, kā jau ikviens pusaudzis noteiktā vecumā. Taču tik mazā pilsētā kā Ķelne cilvēki sāka kopēt un ietekmēt viens otru, izveidojās sava scēna. Domāju, ka Volgangam bija savs koncepts attiecībā uz šo, līdzīgi kā tas bija Ričijam Hotinam, par minimālu, reducētu tehno. Būtībā tā bija reakciju uz meinstrīma tehno, transīgu, reivīgu, visu to Mayday. Viņi gribēja to reducēt līdz tīrai esencei. Un tad kāds kā Maikls, Jirgens vai citi, kas bija ārpus Kompakt, pārņēma to un interpretēja pa savam, un tas kļuva par sava veida kodu vai stilu. Tādas mūzikas kļuva vairāk un vairāk. Mums pašiem nereti šķiet, ka minimal ir garlaicīgs, tik daudzi ar to nodarbojas, un tagad visu, kam ir basslīnija, sauc par minimal, kas nemaz neatbilst sākotnējai idejai. Vai arī par elektro, ar ko gan es saprotu citu mūziku, pārsvarā no 80. gadiem, kā, piemēram, Kraftwerk vai Detroitu. Jaunieši šo funky minimal bassline mūziku sauc par elektro, taču man vienalga, jo, pat ja es nepiekrītu, es saprotu, ko viņi ar to domā. Taču galu galā, mēģinot atbildēt uz jautājumu, es pats droši nezinu, kāpēc tik daudzi cilvēki pievēršas minimal. Viens svarīgs iemesls minimal tehno panākumiem varētu būt tas, ka tam ir tukša forma un ir viegli to izmantot kā tādu matricu. Piemēram, cilvēks ir kādreiz klausījies Dead Kennedys, viņš paņem kaut ko no viņiem un ieliek šajā formā. Galu galā tas ir minimal, taču ar individuālu piegājienu. Minimal ir kā pudele, kurā var daudz ko ieliet, cilvēki pērk pudeles, jo tās forma ir tik perfekta. Tajā vienmēr var ieliet ko savu. Ja tiek radīts kas ļoti pilnīgs, piepildīts un noteikts, tad vairs nav vietas kam personiskam. Pamatā ir bassbunga, šķīvis, clap, būtībā house mūzikas recepte. Tas, manuprāt, pievelk jaunus cilvēkus, taču arī vecāki cilvēki, kuriem jau pāri par 35, tikai sāk taisīt mūziku. Piemēram, viņiem nav darba, viņi iet uz klubiem, dzird šādu mūziku un nodomā pamēģināt arī paši. Nopērk laptopu, monitorus un sāk kaut ko darīt savā istabā. Protams, no sākuma viņi izmanto to minimal formulu, jo viņi to dzird klubos un viņu draugi to taisa, taču tad seko iespēja to darīt viņiem īpašā veidā. Katru nedēļu parādās jauni interesanti ieraksti, neskatoties uz to, ka pamatā ir viena formula.

Jā, šķiet tas kļūst populārs, bet tādā pozitīvā veidā… Tas gluži nav undergorund for kids.

Es domāju, ka pastāv arī undergorund for kids, un tas kādreiz bija ļoti spēcīgs, piemēram, schranz, hard techno, galvenokārt ir domāts jauniešiem, kuri lieto speed vai e un kustas 5, 6 stundas pie ātra, perkusīva tehno… Iespējams, tagad šī scēna vairs nav tik liela, cik zinu daudzi hard techno dj-i sākuši spēlēt vairāk t.s. elektro lietas. Piem., Chris Liebing vai Adam Beyer kompilācijās nereti ir tie paši ieraksti, ko spēlēju arī es. Wighnomy Brothers, Dominik Eulberg utt., viņi domā, ka atklājuši ko ļoti interesantu, “jaunu skaņu”, uz ko mēs atbildām “C’mon, kāpēc jūs nepaliekat savā pusē?” Tagad tiešām ļoti daudzi dj-i spēlē šādu mūziku. Un kā dj-am nereti ir grūti būt citādākam, tu sāc domāt, ka spēlē the same shit as everybody else.

Nav brīnums, ņemot vērā, ka tieši Ķelnes mūzika ir ļoti populāra…

Jā, piemēram, tu esi uzaicināts kaut kur, un dīdžejs pirms tam spēlē visus aktuālos hitus, un tad tas vairs neliekas kas īpašs.

Kā tad tomēr panākt savu atšķirību?

Tas nav viegli, tev jāmēģina to piedāvāt savā veidā, teiksim, draudzīgākā vai dažādākā veidā. Visi mūsu dīdžeji, protams, nespēlē tikai minimal kā tādas mašīnas, mēs cenšamies būt dažādi, atvērti, funny, ielikt kaut ko popsīgāku, mēģināt arī ielikt kaut ko no sirds, ne tikai tīri funkcionālu un minimālu. Piem., mix-cd, ko mēs taisām, ir drīzāk emocionāli, un tā ir pēdējā lieta, ar ko varam atšķirties – būt interesantas un jaukas personības, atšķirībā no citiem, kuri tikai “žžžžžž”…

Turpinot šo tēmu, gribētu tev kā dīdžejam pajautāt, kas vēl dīdžeju padara par labu dīdžeju?
Labam dīdžejam būtu jāapzinās, ka dīdžejošana ir amats, nevis māksla. To tu dari pamatā ar savām rokām, un tam būtu jāpieiet nopietni, kā gatavojot galdu, piemēram.

Atbildība tātad?

Jā, un koncentrēšanas uz kaut ko, kas nav īsti ne māksla, ne arī tikai tehnika, kaut ko vienkāršu… Piemēram, mix cd ierakstīšana vai koriģēšana digitālā veidā uz datora ir pretrunā idejai par amatu. Tā nav tik liela problēma, taču es parasti saku, lai respektē savu darbu, un esi godīgs – ja tu kļūdies, tu kļūdies. Keep it pure and simple: two turntables and a mixer. Protams, var pielikt efektus utt., taču galu galā var uztaisīt filmu ar 60 mm kameru, kas ir vairāk roku darbs, vai var arī uztaisīt filmu uz datora. Datorfilmas, manuprāt, ir kas cits, tas nav roku darbs, un tam vajadzīgas citas prasmes. Ir citādi, ja tu paņem rokās plati un jūti visus tos sūda putekļus, tu dari to ar rokām, nevis skaties interfeisā. Esmu konservatīvs šajā ziņā.

Ja tu esi ļoti labs dīdžejs, tu gan vari pievienot kādus papilefektus vai ko citu, piemēram, man ir vienalga, ko dara Ričijs Hotins, kurš ir ļoti labs žokejs. Vienīgi man nepatīk, ja viņš saka cilvēkiem: “Aizmirstiet par vecajām lietām, lietojiet jaunās”. Tad es nodomāju: “Shut the fuck up!”, jo cilvēkiem jāizdara pašiem sava izvēle – ja viņiem patīk gatavot uz gāzes, nesaki, ka šī jaunā plīts ir labāka un ka vecā gāzes plīts jāmet prom. Vienalga ar gāzi garšo labāk. Tas nav par jaunu un vecu, bet gan par izvēli. Dīdžejam jābūt labam izklaidētājam un mūzikas selektoram, jābūt labai idejai par dziesmu kārtību un nevis 10 minūtes, bet stundu garumā. Un jābūt arī kādām saskarsmes iemaņām, jāprot komunicēt un runāt ar cilvēkiem, caur savu mūziku jāprot viņiem ko pateikt, kaut ko jautru vai skumju utml. Patiesībā, ja tev piemīt visas šīs īpašības, man nerūp, ko tu lieto – vai tas ir roku darbs vai dators. Bet tikai laptops un programma, un ar to perfekti samiksētas nokačātas dziemas, jo dators nekļūdās, nav dīdžejošana, pat ja to atgādina. Tā ir dziļāka lieta.

Jocīgi jau tā runāt, kad pats esi dīdžejs. Ikdienā sanāk satikt daudz dažādus dīdžejus, un katrs uzsver, ka ir kas īpašs. Piemēram, džeks stāsta, kā pamazām iekurina publiku, taču patiesībā sāk spēlēt ar 130 bpm platēm un uzliek Thomas Andersson grāvēju. Tas pats attiecas uz mani, varbūt es runāju šādi, bet, kad tu mani dzirdētu klubā, tu nodomātu “sūds”, taču šī ir mana filozofija un līdzīgi domā citi Kompakt dīdžeji.

Mums parasti nerūp pašas jaunākās, vēl neiznākušās plates un remiksi, mēs spēlējam arī vecus ierakstus vai arī spēlējam tos “ar smaidu”, tā vietā lai būtu snobiski un augstprātīgi. Jā tomēr kāds domā, ka mēs esam iedomīgi tikai tāpēc, ka gūstam panākumus, tā nu nav. Un parasti dīdžeji, ko es pazīstu, tādi arī nav, pat Sven Väth vai Ricardos Villalobos, vai Miss Kittin, viņi... lai gan Miss Kittin tomēr ir drusku citāda… viņi ir tuvu cilvēkiem, nevis 10 mitrus prom no cilvēkiem, esot tādām kā popzvaigznēm. Protams, ir forši justies īpašam un atbildīgam par to, ka izvērtīsies pārtija, taču tā ir arī liela atbildība, un ikviens uz tevi skatās un gaida kādu brīnumu, bet varbūt tu esi noguris vai piedzēries, vai abi kopā. Bet, ja izdarīsi pareizi, visi tev smaidīs un mīlēs tevi, tā ir komunikācija. Tā ir ņemšana un došana, un tavs darbs nav spēlēt izteikti konfrontējošu mūziku, tu spēlē kaut ko kas tev patīk, bet tajā brīdī liekas, ka būtu interesants arī publikai.

Tātad dīdžejošana vairāk ir izglītošana vai izklaidēšana?

Izklaidēšana. Dažreiz tas ir nedaudz izglītojoši par izklaidēšanu. Tu it kā rādi savu versiju par izklaidēšanu. Tas nekad nav: “Klausies, cik krutu mūziku es spēlēju!” Varbūt tā bija pirms padsmit gadiem, kad spēlējām mazās pilsētās un cilvēki neko nesaprata no elektroniskās mūzikas. Mēs pirkām ierakstus lielās pilsētās un bijām tik patīkami satraukti, uzrīkojām pārtiju, bet cilvēki tikai gribēja dzirdēt pierastas lietas. Jaunieši mūsu vecumā, taču tik konservatīvi! Taču citus tas aizrāva, tie bija vairāk tādi hipiju tipi, kuriem patika dejot un just mūzikas enerģiju. Lai gan daudzi mani draugu ienīda šādu mūziku, un tad tā izvērtās par izglītošanu. Protams, visiem nav jāpatīk tehno.

Starp citu, 80. gadu beigās Padomju Latvijā ieradās Westbam un “sludināja” tehno; tas man atgādina tevis teikto.

Protams, viņš ir izcils dīdžejs, liekas, ka pirmais Vācijā. Pēc visiem šiem gadiem viņš ir nedaudz wasted, visu to drugs + rock'n'roll dēļ, bet te mēs visi apbrīnojam viņu. Dažreiz, kad mēs spēlējam viņa gabalus, cilvēki prasa kāpēc mēs spēlējam tos komerciālos sūdus. Jocīgi. Piemēram, Oldschool baby bija liels hits Ķelnē. Iespējams, tas ir nedaudz cheesy, taču ir labi nedaudz būt cheesy, kamēr esi minimal.

Vai Kompakt mūzika, tavuprāt, ir pilnīgi futūristiska vai tomēr tajā ir kādas saknes, tradīcijas, atsauces uz pagātni?

Tā vienmēr ir bijusi mūsdienīga savā laikā, kā tas pienāktos popmūzikai, taču ietekmējoties arī no pagātnes. Ja paskatāmies vēsturē, pēc 2. Pasaules kara Vācijā kādus 50, 60 gadus bija ļoti spēcīga amerikāņu un britu popkultūra. Viss, kas nāca no turienes, bija super, protams, ka daļa bija. Un vēl pat šodien manāma tāda kā cīkstēšanās starp angloamerikāņu ietekmi un vēlmi izdarīt ko pa savam. Tehno bija viena no pirmajām lietām Eiropā, kur vairs neizpaudās angloamerikāņu dominance. Un nav svarīgi, vai tehno radīja Huans Atkins vai Kraftwerk, vai varbūt abi kopā, bet gan tas, ko mēs no tā iztaisījām. No otras puses, mēs šajā ziņā neesam nacionālisti un neuzsveram, ka tā būtu vācu lieta. Tomēr bija labi izveidot tādu kā savu “valodu”. Tas pats notika arī vācu pop- un rokmūzikā – viņi sāka dziedāt vāciski. Tā gan vienmēr bijusi trausla līnija, lai nekļūtu pārāk vāciskiem.

Mūs ietekmēja daudz britu un amerikāņu popmūzikas no 60., 70., 80., 90. gadiem, būtībā visiem laikiem, piemēram, īsta popmūzika kā Pet Shop Boys vai Velvet Underground, arī ģitārmūzika kā Sonic Youth, shoegaze mūzika kā My Bloody Valentine. Daudzi cilvēki no manas paaudzes socializējās ar šo mūziku un uzauga ar to.

Kad uzradās tehno, tas visu aizslaucīja prom, taču vēlāk tu atceries savu pieredzi un ietekmes atgriežas no otras puses, un cilvēki sāk miksēt popmūziku ar house vai techno. Kad Kompakt sāka virzīt techno ar pop “piesitienu”, tas kontrastēja ar daudziem producentiem, kuru attieksme bija ļoti nopietna… Varētu salīdzināt ar vācu attieksmi pret alu – šī ir vienīgā pareizā pieeja, kā gatavot alu, visos citos gadījumos sanāk slikts alus. Tehno vajadzēja būt ļoti tīram, futūristiskam utt., kas ir ok, taču mēs vienmēr esam bijuši nedaudz “popsīgi”, daudzos ierakstos ir pop sempli u.tml., ne gluži Jeff Mills garā. Es viņu aprīnoju, taču tā nekad nav bijusi mana ideja par tehno.

Jā, pirmo reizi, kad dzirdēju Justus Köhncke, nodomāju, kas tas par vācu šlāgeri? Lai gan tas joprojām ir elektronisks…

Atceros, ka viņš stāstīja, ka cilvēkiem Skotijā vai Japānā patīk viņa mūzika, lai gan viņi nesaprot, ko viņš dzied, tikai uztver sajūtu. Kādreiz mēs tā klausījāmies arī angļu mūziku, nesaprotot vārdus, taču saprotos sajūtas. Vācijā pirms tam daudzi teica, ka tas ir pārāk cheesy un nevienam nepatiks, un viņam vajadzētu aizvērties un nedziedāt. Taču cilvēkiem citās valstīs, pat reiveriem, patīk viņa mūzika. Viņi to sauc par soulīgu mūziku.

Vienalga outstanding, pat priekš Kompakt.

Jā, tā bija uzdrīkstēšanās…

90. gadu vidū visi grupējumi (leibli) – A-Musik, Groovetech, Kompakt – bija tuvāk viens otram. Tad nebija klubu, bija tikai bāri, kuros bija atskaņotāji. Bija arī pārtijas, taču parasti mēs tusējāmies Liquid Sky bārā, cilvēki un dīdžeji sēdēja uz sofām, un mūzika bija ne gluži deju mūzika, vairāk klausāma. Dīdžeji spēlēja house mūziku, tad Mike Ink un tad Mouse on Mars vai ambient, vai Schlammpeitziger, daudz jokainas elektroniskas mūzikas, un tajā laikā tādas bija daudz, jo neviens īsti nedejoja.

Varbūt tāpēc tas ir iemesls, kāpēc Ķelnes mūzikas visumā ir ne tikai dejojama, bet arī klausāma?

Jā, varbūt, taču arī cilvēki, kas taisa mūziku, ir diezgan inteliģenti, viņi nav darbaļaudis (working class), drīzāk buržuā, diezgan gudri un kultūrāli, saistīti ar mākslu, dizainu u.tml. Cilvēki nenāk no ielas, bet gan no labiem vecākiem. Vairāk tādi pop cilvēki.

Nevis ghetto kids?

Pavisam ne. Ne tā kā panki, kuri varbūt grib uztaisīt raw shit. Šie ir vairāk domājoši, jutīgi whimp tipa cilvēki. Tāpēc viņiem patīk Kompakt, viņi identificējas ar šo vājumu, being sweet, nice, whatever.

Nākotnes plāni?

Dažreiz es aizdomājos, cik ilgi mēs darīsim to, ko darām pašlaik?

Vai tu domā, cik ilgi būs šāds trends?

Drīzāk, cik vēl ilgi izlaidīsim uz platēm house un techno, spēlēsim klubos un piedzersimies, cik ilgi cilvēki vēl mums aplaudēs, nobukos, cik ilgi vēl lidosim apkārt pasaulei, visas šīs lietas, šīs privilēģijas, kas mums ir, no kā mēs pārtiekam un gūstam prieku. Ja nu kādā brīdī tas nobrūk vai cilvēki vairs to nepirks… Taču, no otras puses, cilvēki citās valstīs tikai sāk šādas lietas attīstīt. Mēs ar to nodarbojamies kādus 20 gadus, bet citur tas tikai sākas. Tas liek mums justies jaunākiem un paver iespējas sadarboties ar viņiem, savukārt viņiem mūsu mūzika liekas svaiga un interesanta.

Kad atvadāmies, pie mums pienāk Maikls Majers, kurš, izdzirdis, ka es Kompakt angliski izrunāju kā Compact (ar plato "e"), pa pusei nopieni, pa pusei jokojot norāda, ka izrunai jābūt vāciskai.

Sunday, December 10, 2006

NB! chart - November


Finally I've got time to round-up my november faves. The main heroes: R.Villalobos, C.Vonstroke and My My.

> Ricardo Villalobos - Smokes Magical Passes [unreleased]

I found his Fizheuer Zieheuer superlong tracks rather boring, it seemed that the man was playing and experimenting with form, while substance was nothing extraordinary. Just wondering why P.Sherburne thinks it's the best release in 2006. But luckily enough his What's Wrong My Friends (for me the best track is Africolap - a superb afro influenced piece) and the unreleased track Smokes Magical Passes are just brilliant productions. There are amazing drums on both tracks, excellent! Regarding SMP, it's surprisingly "normal" Villalobos' take on how a deep acid techno should sound like. Finally some really DJ-friendly track from him, which certainly deserves to be released on a vinyl.

> Martin Eyerer & Oliver Klein - Al Quadus [My Best Friend]

This comes from their Kairo 12". First impression was that the track was rather simple, but after several listenings it really kicked in. The production qualities - drums, sound itself etc. - are perfect. It just works, you know.

> My My - Half A Hole / Songs For The Gentle [Playhouse]

Lee Jones & Co are unstoppable. Their trademark is that special funky, catchy and groovy, but still innovative sound that can be found on all their releases - no matter was it a mellow house (Butterflies and Zebras), a psyschodelic techno (Serpentine) or a tour de force in chopping and sampling techniques (Klatta EP). After delivering the very interesting Kinesi Workshop EP on Circus Company, the much awaited album Songs For The Gentle is out on Playhouse. Well, technically these "songs" are rather different, but all have the above mentioned My My mood. For instance, When reminds me of the classic Infiniti track Raindrops; Clean Break and Secret Life of Paints make me smile; Eleventh hours offers one of the grooviest and most playful moments on the album; Half A Hole is simply beautiful track - that's how deep house should sound in 2006, in my view. And so on. Definetely one of the best albums of this year.

> Claude VonStroke - 7 Deadly Strokes [Neuton]

It's not a new release at all, but I've discovered it just now. Totally amazing record! Check also his other records and remixes if you like this kind of funky and bassy things. He's from San Francisco and running Dirtybird records (see also two next entries).

> The Martin Brothers - Stoopit [Dirtybird]

An extremely playful and funny track, out on VonStroke's label.

> Luke Solomon - Ghouls (Claude VonStroke's Beats From The Grave) [Rekid]

Altough the main track is also a very nice piece of spooky analogue action, VonStroke adds his phat bass and groove that makes feet move. I suppose it's not a coincidence that the record's been released on Helloween. Yesterday I heard this one played by Riton.

> Hugo - Alchemic Dancer [Floppy Funk]

Floppy Funk Records is French label specialising in that particular French micro-house style (Karat, Circus Company etc.) with a very funky/jazzy edge. Although B2 track is untypical and sounds more like Trentemoller's stuff.

> Sebo K - Horizons (Excerise One's Sleepless in San Juan mix) [Mobilee]

This is something special and the best remix from Mobilee's Back To Back series.

> Christian Paduraru - Sharing Transparently (Dave DK rmx) [Absurd]

Dave DK's remix is mellow but very nice - a good example of contemporary electronic deep house. By the way, Paduraru is another producer from Romania.

> Latex - The Porcupine [Rebelone]

Loco Dice + Martin Buttrich aka Latex deliver a remarkable latino influenced one-sided record.

Some other nice redords: Jay Haze - Berlin Pimping part 2 [Tuning Spork]; Inxec - At First I was ... A Duck [Contexterrior]; Guy Gerber & Shlomi Aber - A Sea of Sand [Cocoon]; H-Man - 51 Poland Street [Giant Wheel]; Audiofly X - 4 Play EP [Get Physical]

Thursday, December 07, 2006

In brief


Last Sherburne's Month in techno column is a nice and sentimental piece, which sounds a bit like confession. Regarding the context thing, I can just totally agree that it's important to experience techno/e-music on a club sound system, not just on a playlist. To feel how it bangs, how it interacts with a crowd... You'll also find there his summary on the best tracks in 2006. I'll do my own later in january, just can add that Mr.Villalobos will be one of the heroes in my upcoming monthly chart.

Furthermore, my attention was caught by "Needle in the hey" entry on his blog, discussing the issue whether a DJ should bring his own TT needles when performing. (As far as I remember this topic was brought up in the sub.lv or its forum too.) Last time being in Latvia I also learned that at the moment DJs are expected to bring their own needles there, which was not really the case some 5 years ago. And you better be informed about this kind of local rules to avoid unpleasent surprises.

That's in brief. Stay tuned.

Tuesday, December 05, 2006

Ekspresintervija ar Röyksopp


Intervijai atvēlētajā telpā ienāk divi puiši, sasveicinās un iepazīstina ar sevi. Torbjörn Brundtland izskatās skandināvisks – pieri un daļēji acis sedz pagaiši mati, sārta seja, turpretī Svein Berge ir pretmets – melniem matiem, brūnām acīm. Viņi abi kopā ir pazīstami kā Röyksopp – iespējams, pirmā patiesi populārā norvēģu elektroniskās mūzikas grupa. Sākam sarunu, runā galvenokārt Svein, bet Torbjörn, aizņēmies no mani pildspalvu, kaut ko zīmē uz papīra lapas.

Iesākumam, iespējams, tradicionāls jautājums, uz ko jums jau nācies atbildēt jau daudzkārt, un tomēr – pēdējais albums [The Understanding] ir acīmredzami citāds nekā iepriekšējais [Melody A.M.], kāpēc tik krasa pārmaiņa un vai tas notika apzināti vai drīzāk nejauši?

Tā vispār bija apzināta izvēle. Pēc Melody A.M. mēs sapratām, ka nevēlamies atkārtoties, bet gan radīt ko jaunu.

Un kā klausītāji un kritiķi reaģē uz jauno albumu?

Nu, vienai daļai patīk, ka tas ir kas jauns, savukārt citi – Melody A.M. fani – gribētu labāk otru Melody A.M.

Vai jaunā albuma nosaukumam “The Understanding” ir kāda īpaša simboliska nozīme?

Šis ir plašs vārds. No vienas puses, to var attiecināt uz klausītājiem, kuriem ir jāizprot mūzika, no otras puses, to muzikālās attīstības ziņā var saistīt arī ar mums. Arī jaunā albuma vāciņa noformējums atraisa iztēli.

Jā, tieši grasījos jautāt par vāciņu, kas ir diezgan sirreāls. Kādā intervijā arī lasīju, ka Sveinam patīk Deivida Linča filmas. Skaidrs, ka jūsu mūzika ir izteikti melodiska, taču cik lielu nozīmi jūs piešķirat psihodēlijai mūzikā?

Jā, man patīk tā sajūta viņa filmās. Pārsvarā tās raisa iztēli un ir saistītas ar sapņiem. Visi tie tēli… Tāpat arī mēs cenšamies radīt sapņainu mūziku.

Skaidrs, šī varētu būt viena no labas mūzikas pazīmēm. Kādas vēl, jūsuprāt, īpašības vai sastāvdaļas jāpiemīt labai mūzikai?

Galvenokārt un neatkarīgi no stila tai jābūt ar savu identitāti, nevis citas mūzikas kopijai.

Runājot par norvēģu mūziku, vai tai tiešām ir unikāls, īpašs skanējums, vai tomēr šī “norvēģu skaņa” ir kritiķu izdomājums?

Hmm, nekā tāda diži atšķirīga jau nav. (Te pēkšņi iejaucas Torbjörn) Tomēr ir viena tīri tehniska īpatnība, norvēģu mūzikā daudz vairāk tiek izmantots reverbs. Nekā, piemēram, Ņujorkas mūzikā vai latino. (Turpina Svein) Kādreiz arī norvēģu mūzika kopēja angļu un amerikāņu mūziku, un tikai kādus pēdējos deviņus gadus cilvēki sākuši vairāk pievērsties savam individuālam skanējumam.

Un kas tomēr būtu pamatā, ka pēdējos gados dzirdam tik daudz labu norvēģu grupu? Vai tā ir skaistā daba vai daudz brīvā laika? Vai tomēr labklājība?

Laikam jau tomēr pēdējais.

Vai jūs nebijāt pārsteigti par Melody A.M. panākumiem [visā pasaulē pārdots vairāk nekā miljons albuma kopiju]? Turklāt atzinība nāca palēnām…

Tik lielus panākumus negaidījām. Savā ziņā pat joprojām jūtamies jocīgi, piemēram, spēlējot koncertus visā pasaulē.

Nobeigumā gribētu jums lūgt tādu kā padomu tiem daudzajiem jauniešiem, kuri kaut ko dara elektroniskās mūzikas lauciņā, taču savas “guļamistabas” ietvaros, un īsti nezina, kā panākt, lai viņu mūzika tiktu izdota, nemaz nerunājot par plašāku atzinību? Tādu, piemēram, ir diezgan daudz Latvijā.

Pirmkārt, jau ir tādi, kas nemaz to negrib sasniegt. Bet, ja vispārīgi, tad ieteiktu nekopēt citu mūziku, bet mēģināt radīt ko atšķirīgu. Tas attiecas arī uz instrumentiem – gan reālajiem, gan virtuālajiem. Piemēram, daudzām mūzikas programmām ir savs tipisks skanējums, un to var viegli atpazīt. Mēģiniet atrast kādu programmu, ar kuru jūtat, ka spējat radīt ko savu.

Diemžēl mūsu laiks ir iztecējis. Paldies par interviju un varbūt kādreiz redzamies Latvijā!

Jā, mēs ar lielāko prieku tur uzspēlētu, jo Austrumeiropā pagaidām ir maz būts.

Saturday, November 18, 2006

NeOn B. presents *Twist and Shout* mix


Here comes my new mix that is 2 hours madness of twisted electronic music, from contemporary classics to less known gems. Including such producers as Pan-Pot, Anders Trentemoller, James Holden, Dominik Eulberg, Santi Xpansul, Stephan Bodzin etc. (see the track-list), as well as an unreleased (yet) remix of The Knife's song (here I should give credit to OhMyGoshParty guys for making it available). Due to technical reasons the mix is split into two parts.

I hope that you will enjoy it, and feedback is always welcome.

Fasten your seat-belts, and bon voyage!

Neonly yours,
N.B. aka Hencha

NeOn B. - *Twist and Shout* mix part 1

NeOn B. - *Twist and Shout* mix part 2


Part 1:

Pinch - Qawwali [Planet Mu]
Jens Bond & Benno Blome - La Sepia [Sender]
Pan-Pot - Black Currant [Mobilee]
Sweet n Candy - Hit The Points [Opossum]
Alexi Delano & Xpansul - Vegetotherapy [Plus 8]
Extrawelt - Fernweh [Kompass]
Dirt Crew - Largo (Dominik Eulberg rmx) [Dirt Crew]
The Knife - Like a Pen (Stephan Bodzin rmx) [unreleased]
Trentemoller - Take Me Into Your Skin [Poker Flat]

Part 2:

James Holden - 10101 [Border Community]
Alex Smoke - Meany [Soma]
Repeat Repeat - Why Must [Soma]
Jens Bond & Benno Blome - Tentacular [Sender]
Rekorder - Rekorder 6.3 [Rekorder]
Audion - Titty Fuck [Spectral Sound]
Konrad Black - Coma Couch Surfin [Items & Things]
Bill Bolls - Burner (Gauchel rmx) [Schieber]
Heinrichs & Hirtenfellner - You Are I [Supdub]
Xpansul & Daweed - What is it [MSX]
Zombie Nation - Boostar [UKW]
James Holden - Lump [Border Community]

It's gonna be hot!

I've learned great news: on December 9 there will be the European Culture Capital 2007 opening night in Luxembourg, and the line-up on the electronic music hall is just brilliant -- Henrik Schwarz, Ame, Para One, Riton! I guess I don't need to introduce you to these ones of the most hottest producers and DJs at the moment.


Para One - Def Tea Machine

Riton - Square Eyes

Henrik Schwarz and Freestyle Man - Jena

Ame - Rej (A Hundred Birds Beatless Mix)


p.s. A note for friends: I could provide hosting if some of you decided to come to this event.

Всё супергут


Today it feels that yesterday I had a few beers too much, on the other hand, DJ Shantel's balkan beats and Eastern European music and drinking goes hand in hand... Yes, his performance was fantastic despite the strange venue for this kind of music -- the ultra-modern philharmony building in Luxembourg.

He started his set in the foyer right after the concerts of Kocani Orkestar and Mahala Rai Banda (which where good, but wouldn't say that supergut). Can you imagine the mood of an official reception (properly dressed up people of all age wandering around with glasses in their hands) and Shantel firing out a funny but rude Russian song Всё супергут (Everything's supergut -- is it Leningrad btw?) and making some funny comments/jokes on top? So the first impression was wierd, but anyway he succeeded to make the party happen right away -- the stuff he played would make even a deadman dance. Of course, it wasn't just DJing, it was more of making a show, Shantel is just that kind of person (and it didn't even matter that his Russian accent was probably fake, because he is from Frankfurt, and actually that's her mother who comes from Bucovina in Romania/Ukrain). The show elements included, for instance, giving vodka to the crowd, asking girls dance on a DJ-table, and a lot of singing on top of his records. It was lots of fun, I highly recommend seeing him whenever you have a chance.

Said this, I'd like to share a funny song, which is not really gypsies/balkan song, but anyway works well for me. It's a girl from Tatarstan with her project Superalisa.

The link to: Superalisa - EVM-01
http://www.zshare.net/audio/superalisa-evm_01-mp3.html

Friday, November 17, 2006

Gypsies coming to the town


It's a party time! I'm really looking forward to experiencing the concert tonight -- Kočani Orkestar and Mahala Rai Banda are performing, followed by DJ Shantel. Should be loads of enchanting and energetic gypsies/balkan music.

DJ Shantel is the guy who is responsible for two brilliant compilations (on K7 Records) titled as Bucovina Club. He is also doing remixes and production himself, merging ethnical gypsies music with some electronic beats.


See you later, and: Carpe Diem!

Monday, November 13, 2006

NB! Chart -- October/November


Due to travelling and other things that kept me busy I haven't been checking the new releases so much recently. Anyway, there are some fresher and some less fresh things that were of my particular interest last month or so.

It might happen that I'm wrong but Trentemoller's new album is not very very outstanding, I would say. Don't get me wrong, it's a top quality record and I like it, but it is not astonishing. No big surprises for me. And probably I wish there were more dancefloor tracks in it.

> Xpansul & Daweed - Autopsy [MSX]

Sindicato is a Spanish label, one of my recent discoveries, which focuses on deep but groovy tech-house records. The main names behind this imprint are: Daweed (David González), Xpansoul (Santiago Ferrer) and Fernando Gullón as well as Alexi Delano. I remember A.Delano (and his A.D.N.Y. moniker) from the 90s when he got released by such Swedish labels as Hybrid, Svek, Loop Records etc. It was nice surprise to find out that he is involved in this Sindicato Crew nowadays. He together with Xpansul has a new release on Plus8 -- Intelligence Reframed EP, providing 4 twisted techno tracks, a bit in that Alex Under style. Nice, worth to be checked definetely. Here, however, I have chosen Xpansul's and Daweed's track that was released back in summer.

> Audion - Mouth to Mouth [Spectral Sound]

Matthew Dear's latest production offers 12 minutes of a truly minimal craziness.

> Bill Bolls - Burner (Gauchel rmx) [Schieber]

This is not new, but somehow I missed it when it came out. However, not to be missed!

> FSOL - Lifeforms (Wighnomy Brothers & Robag Wruhmes Simetikon 001-06 & 002-06 Re-Edits) [Virgin]
Gabor Schablitzki & Sören Bodner simply adds an up-to-date beat to the all time classic, and it works!

> Ost & Kjex - Milano Model [Dialect]

I really like these funky still freaky Norwegian guys, this time on French label. This track sounds as their another track Kjexterminate, just more "electronic". The duo is just released by Crosstown Rebels too, with even more dance-floor orientated track (How Not To Be A Biscuit).

> DJ Koze - Snauzi Peitsch [Kompakt]

Koze's brilliantness and wierdness on the Stomping at the Clubfoot EP, served by Kompakt.

> The Egg - Walking Away (Dusty Kid Pop Ga-Ga Remix) [Great Stuff]

So sweet, so pop. (See also the previous post.)

> Konrad Black - Coma Couch Surfing [Items & Things]

Amazing track. I'd love to hear this one loudly on a good quality club sound system.

> James Holden - Lump [Border Community]

Holden's album The Idiots Are Winning is out on Border Community. The title track is so fucked up that even Richard James wouldn't be ashamed. Although I must admit that entire album is rather experimental by that meaning profound electronic fx manipulations (sounds like tweaking Ableton Live). Furthermore, it's a conceptual record dealing with polictics. For instance, track called Intentionally Left Blank consists of 2:05 minutes of a pure silence (hello, Mr. Cage!).

> Zombie Nation - Boostar [UKW]

Another intriguing LP - Black Toys by Zombie Nation - has been released on Florian Senfter's (who is the main zombie) label UKW. I've been always thinking that these guys are very interesting producers, in their own original way blending together electro, techno, hip-hop, IDM... This album is no exception - for those who like innovative but still danceable and playful electronic music. Some other reference names that sounds sort of similiar: Remute, Oliver Koletzki and to less extent -- Boys Noize.

Rrrrr....iga!

Hallo out there! I haven't posted anything for a while, so I think it's a time for a new entry.

How am I? - I hear somebody asking. Well, +/- ok, recovered, back to work etc. I had a wonderful time in Riga, actually lots of DJ-ing this time - 5 nights in 10 days. The so called micro-tour, which included spinning with ZeDmitry in 3 different bars/clubs in row, beated all my expactations - so good it was! Tons of a good energy after rocking nights at Pulkvedis and Casablanca, and some deeper excursions at the Golden Bar. Thanks to everybody who came and supported! In fact I was a bit worried before, because it seemed that these venues (first two) had become more pop, less electronic, but eventually everything was perfectly ok, proving that e-music isn't just for nerds, and even "mainstream" people can get into the contemporary electronic dance music groove. And that DJ-ing is not just a technical thing, but, in fact, it's a very subtle and emotional thing.

Some songs turned out to be the unofficial anthems of this "tour". As far as I can remember those include well-known but still not too much played in Latvia: Booka Shade's Mandarine Girl and White Rooms, Ame's Rej, C.Craig's remix of Goldfrapp's Fly Me Away as well as the beautiful e-pop song - Dusty Kid Pop Ga-Ga remix of The Egg's Walking away, and Tobi Neummann's (aka Glove) remix of Miss Kittin's Rippin Kittin. To my surprise apart from these electrohouse anthems some less known, more techy and deeper things had a great response, for instance, all trax on the great Sindicato Crew e.p. (that's a mini-compilation by various artists from the Madrid based Sindicato label, a bit more about it in my chart, which is already on its way) and Sex Drive by Format:B (that's Opossum stuff) to mention few.

Thanks again, and we'll be back!

Golden Boy with Miss Kittin - Rippin Kittin (Glove's Tension Club Mix)

p.s. Photos from these events you can check here

Tuesday, October 24, 2006

Just a quick note


Me and NeOn B., we are heading to Riga. Probably I'll spin some world/urban/clash tunes at Rīmu nakts. Should be fun. See you there or somewhere else, my friends.

On the (mini) tour

It's always a pleasure to visit my native town Riga, and it's even a bigger pleasure to DJ there in some nice party. This times it's turned out as a small mini-tour -- 3 nights of DJing in 3 different venues, and it's in row! Hey, musique non-stop!

The dates and the locations are:

26.10. The Golden Bar
27.10. Pulkvedis
28.10. Casablanca

All 3 nights I'm spinning together with Dmitry Z. (thanks him for managing all this!).

Music will range from minimal to electro to disco nuveau.

Just one idea came into my mind: you know those product tests in magazines? So we could do the comparison test of venues, and afterwards right a review. Well, if I do this, you'll be the first to read this.

The flyer and more info here.

Tuesday, October 17, 2006

NeOn B --- EchoLogic mix


I've selected and put together some nice, deep and dubby tracks (circa 2004-2006) for your pleasure. This mix was aired on the Signals radioshow few weeks ago (thanks to Ivarz), and now it's available online. The tracklist and brief comments follow below.

NeOn B - EchoLogic mix



+ Terrestre - Ultra Tumba [Static Discos]

The track is taken from Terrestre's Secondary Inspection LP (2004). Behind Terrestre's name stands Mexican Fernando Corona, who is probably more known for his Murcof project.

+ Anja Schneider - Lily of The Valey [Mobilee]

This superb example of the deep minimalism is produced by the Mobilee's head Anja Schneider, and according to Discogs -- co-produced by Pan Pot's Marco Resmann.

+ Rhythm & Sound w/ Bobbo Shanti - Poor People Must work (Carl Craig remix) [Burial Mix]

Berlin meets Jamaica meets Detroit. Rhythm & Sound imprint itself stands for the quality dub that merges traditional roots vocals with more contemporary approach to dub production. Now it is taken to another level by the techno wizard Carl Craig. This freaky but very interesting track is taken from the seminal See Mi Yah remixes serie.

+ Chelonis R.Jones - Deer in The Headlights (Radioslave remix) [Get Physical]

Get carried away on a psycho highway by Chelonis R.Jones and Matt Edwards.

+ Bulgur Brothers - Cocacolada [Karat] + Plastikman - Spastik

Bulgur Brothers are Scandinavian producers Andreas Tilliander, Johan Skugge and Mikael Stavöstrand, but Karat is a French label focusing on that special French feel microhouse. On top I added some pieces of the legendary Plastikman's track.

+ Dan Curtin - Echozeichen (Someone Else Remix) [District of Corruption]

American Dan Curtin has been around for a while delivering some seriously funked up techno. Another American producer - Sean O'Neal aka Someone Else - is adding a tight metalic grip still keeping the track funky.

+ Dinky - Shake ya booty [Mental Groove]

Chicago's infected tech-house track by Alejandra Iglesias.

+ Dan Berkson & James What - Zig Zag [Poker Flat]

Dan Berkson and James McGarvie-Munn teams up for The Dig EP, which is released on the Steve Bug's label Poker Flat Recordings.

+ Aaron Hedges - Deutsch Lernen (My My Remix) [District of Corruption]

A.Hedges on his on label (which, by the way, hosts another fine tech-house artist - Jambi), and remixed by the heroes of the moment - My My trio.

+ GummiHz - A.A.K.N.Y. [Mobilee]

A Mobilee artist in the Mobilee style (but not German!).

+ Skat - Postcard [Karat]

Another thing from the Karat, this comes from Skat's The Day We Met EP.

+ Egg - Floating Mind [Karat]

Be aware that this is not the same Egg that is the author of Walking Away hit, this one is more minimal French toast.

Tuesday, October 10, 2006

Peaches

Few days ago I saw Peaches in a concert. In fact, the show and music was better than I had expected. She didn't play alone just with a guitar and a drum-machine as she used to, but with a band including a live drummer, and another two people on synths and bass. She was less hardcore, less rude and provoking as (I suppose) she used to be, so basically the new image is more (electro)pop than lo-fi punk, which isn't a bad thing necessarily. Her new album I like even better than "Fatherfucker", which for my taste was too much into rocky guitars. But what's more important - it seemed that she's still quite honest in what she's doing (baring in mind that there's a lot of parody and irony in general, but her attitude is still ok, for instance, in comparison to Chicks on Speed, who pretend to be mega-artists, suckas). Conclusion: Peaches still rocks and entertains. Shake yer tits, shake yer dix!


Peaches - Downtown

NB! Chart - September


By the way, here's some music that has been on my turntables and my playlist in September:

> Format: B - Sex Drive [Opossum]

A smooth and rather kicking tech-house track from their Cosa Nostra Funk EP. Should go well together with Trentemoller et al.

> Spektrum - Mayday (DJ T. remix) [Nonstop]

The Get Physical guys have nicely treated this freaky track by Spektrum. It's electric, it's funky, it's groovy, ya know. Mayday, Mayday!

> Matthew Jonson - Automatic [Wagon Repair]

What a great track! I cannot figure out whether there is more techno or jazz in it, but it does not matter after all.

> Compuphonic - Placid Corporation [Dirty Dancing]

Another entry from the Belgian producer - a sweet and melodic nu-italo-dico track. It is not anything really revolutionary, extra-ordinary or hyper-fresh, but I'm still like this kind of music. By the way, Spirit Catcher's rmx on the flip-side is nothing special.

> Joel Mull - For Me [Underwater]

It's been out for some while, but I must admit that the AA track is a masterpiece of deep and building-up techno. For me, a bit reminescent of Dark Train.

> Gavin Herlihy - Machine Ate My Homework [Moodmusic]

When it came out I somehow didn't pay due attention to it - the first impression was that it was another pretentious piece in that new Get Physical style. I was wrong, it's a fucking brilliant anthem.

> Heinrichs & Hirtenfeller - Your Are I [Supdub]

Some nicely produced micro-action in a minor key.

> The Knife - Like a Pen (Thomas Schumacher dub) [Brille]

In fact this track is one of my favourite from The Knife's brilliant album, and I must admit that it's hard to beat the original. However, Schumacher has done a good job, this dub version is a really good addition. Again, as a reference Trentemoller's distictive sound might be used to describe this.

> Antena - Camino del Sol (Joakim remix) [Permanent Vacation]

A melodic, dreamy balearic tune yet a bit ackward and spooky. Well, Joakim is scoring once again with this remix. Not bad at all.

> Peaches - Downtown [XL Recordings]

Probably you hadn't been expecting Peaches singing a melodic (electro)pop song in a way Goldfrapp could do, but I sort of like her last album, particularly after seeing her live. She's still kicking, vibrant, and this song is a nice piece of good pop music.


Joel Mull - For Me

Tuesday, October 03, 2006

2 in 1


Hey folks! I've just done a new mash-up, merging together King Roc's Pressure and Soul Mekanik's 27/5/81.

A bit of splitting and cutting, a bit of mixing, then tweaking some Ableton effects, and here we go:


King Roc vs. Soul Mekanik - Pressure 81 [Hencha's abltn m-up]

http://www.zshare.net/audio/king-roc-vs-soul-mekanik-pressure-81-henchas-abltn-m-up-mp3.html

Tell me what you think.

Tuesday, September 26, 2006

Output quits


Well, I've never been a hardcore fan of Output Recordings' output yet I liked their music policy and the indie attitude, so it's sad that this label is closing down. No matter what style -- its music ranged from electro-disco to indietronics to dance-punk to some obscure stuff -- but in general the releases delivered in these 10 years were interesting and original, and some of them were really significant for me (Mu and Black Strobe come to my mind). Naturally, life goes on, we can just hope that at least the represented artists will continue producing nice music.

Trevor's statement can be read at the Pitchforkmedia, if you haven't done it yet.

He says, by the way, that starting from October there will be some releases on their site given away for free.

Big respect and thanks for the Output!

Mu - Tiger Bastard

Monday, September 25, 2006

sugar & cane


The last Sug[r]cane's performance at the d:qliq was pretty cool. He's getting better and better, and some his tracks were just amazing. His musical performance from another laptop was accompanied by impressive and immersive videos synced to the clicks... Bitter sweet.

For those who don't know him -- Victor aka Sug[r]cane is probably the best electronica producer from Luxembourg. His music is a melodic, dreamy and spacey electronica with a reference to indierock, e.g., shoegazing, as of Ulrich Schnauss, Boards of Canada, Telefon Tel Aviv, Nathan Fake and the likes.


Sug[r]cane - Listen or Take Care Because

http://www.zshare.net/audio/10-sugrcane-listen-or-take-care-because-mp3.html

Wednesday, September 20, 2006

NeOn B. - The Dawn mix

As a good-bye for summer I've made a mix that contains melodic, trancey tunes, which, I imagine, would perfectly fit into summertime open-air rave party shortly before the sun comes out. Most of them are known hits, some older, some newer, but there are some gems that you've likely never heard before, particularly the tracks by M.Gonzales and Sirke -- both they are made by Latvian artists and unreleased yet, in fact, this is the first public disclosure. Of course, your feedback is appreciated.


NeOn B. presents THE DAWN MIX:


1. Metope – Second Skin ([T]ékël remix) [Sender]
2. Kiki – Luv Sikk [Bpitch Control]
3. Gabriel Ananda & Cio D'or – Lauschgoldengel [Treibstoff]
4. On/Off – We Are On [All you can beat]
5. Booka Shade – In White Rooms (Shinedoe reimx) [Get Physical]
6. Larsson – Automat [Bpitch Control]
7. The Knife – Like a Pen [Brille]
8. Trentemøller – Polar Shift [Poker Flat]
9. Nathan Fake – The Sky Was Pink (Martinez remix) [Electro-Choc]
10. Martinez Gonzales – Karlina's Song [Unreleased]
11. Björk – Pagan Poetry (Ripperton's remix) [www.ripperton.com]
12. Dirty Hospital – Space Me [Rottenrow]
13. Sirke – Win A Chance To Win A Chance (Andrew Flanger's remix) [Unreleased]
14. Dextro – Do You Need Help (The MFA remix) [Border Community]

Total: 79 min


Furthermore, you are welcome to check my another mix this Sunday, September 24, at the Signals radioshow on RadioNaba (10 p.m. - 12 p.m. Latvian time, www.radionaba.lv). This mix will be deeper and more minimal, containing tracks from labels like Mobilee, Karat, District of Corruption etc.

Disco in the St.Pauli way

Hello, people! It may sound as a paradox, but I'm busy and lazy at the same time, that's why posting so rarely. (Shall I add that song "This is excuse" herewith? No, not this one again -- I hear people shouting:))

Meanwhile I've been to Hamburg -- it's a great city (and St.Pauli neighbourhood in particular). Like Berlin it has an alternative and punkish vibe, but Hamburg is smaller and more compact (Kompakt, but that's Cologne's thing), hence probably cosier than the capital.

One night I was spinning some rather easy e-disco tunes in a lobby lounge at Haus 73 -- a brand new cultural centre, which is located next to the legendary Flora building, a former squat or smth. like that, -- while there was some local street festival going on outdoors. A flea market, some punk/rock bands performing, drinking and stuff like that, which was fun. So far, so good. But then suddenly the peaceful street event turned into a riot: somebody set on fire something there, then fire-fighters arrived, and soon riot police came in, with water guns and barriers pushing people aside from the street. The cops pushed some poeple inside our bar and blocked the entrance thus no-one could leave the lobby. (It looks like forcing somebody to attend a party against his own will -- funny.)

I had never seen something like that before, except on TV. I guess it was the wierdest event I've been DJing at. Music was rather easy and therefore contrasting to what was happening around. If I knew I'd propably had taken some more riotous tunes with me (N.W.A. - Fuck tha police comes to my mind), but the only kind of fitting song that I had was The Clash - This is radio clash. I dropped it in, when the police actually entered our venue seeking for some "rebels". Later, when I finished DJing, I had to use back-doors to leave the place. Oh, that was a night to remember! (The same thing said Felix Kubin after visiting Riga, and he comes from Hamburg, ha ha.)

Morning hours we spent having a great time at the Golden Pudel Club, near the harbour (check also their compilations). Amazing place! Tiny, trashy, run-down, cheap, packed, empty-bottles-everywhere, but great electronic music. The resident DJ Rüftata110 was behind the decks -- he didn't have the best mixing technique, but his selection was just brilliant. Plus he had a funny slogan on his t-shirt: YOU ARE NOW IN HAMBURG, SO WHO FUCKING CARES ABOUT APHEX TWIN (well, maybe it is not exact, but you've got the idea, don't you?). And, indeed, Hamburg has a lot of cool stuff to offer.

The Clash - This is Radio Clash

p.s. This great song might be regarded as an early example of what is currently known as dance-punk / punk-funk, and, as far I know, it is one of James Murphy's most favourite tunes.

Thursday, September 07, 2006

NB! Chart - August

August have been a busy month (read: holidays) for me, and I haven't followed music news so much. Anyway, here come some remarkable tracks:

> Trentemoller - Take me into your skin

I remember how I bought his Rykketid ep in year 2004 actually not knowing the guy. Since that time his production skills have become even better, catapulting him to a superproducer's status. The track from his upcoming LP does not resemble his typical dancefloor hits, hence a nice surprise. It's a beautiful, mellow and melodic piece, although having that special compressed rhythm. I'm impatient to hear the whole album.

> Djuma Soundsystem - Les Djinns (Trentemoller rmx) [Get Physical]

Trentemoller again! Well, all three remixes are good (also by My My and Heads).

> Mike Monday - I dream of ducks

A track from his upcoming album. Very epic and melodic -- sometimes there is a need for tracks like this. Thanks Ohmygosh (the best techno blog IMO) for sharing this.

> Lindstrom - Contemporary fix (Serious Syntoms Remix) [Feedelity]

A fantastic track by the space disco hottest producer at the moment. Although it's a one-sided 12", certainly it's worth spendind some $ to get a copy.

> Paul Kalkbrenner - Queer Fellow (Ellen Allien & Apparat rmx) [Bpitch Control]

In brief: if you liked the Ellen's and Apparat's Orchestra of Bubbles album, you should appreciate this remix too. Sophisticated electro rhythmic patterns plus trancey melodies.

> Rekorder - Rekorder 6.1 [Rekorder]

Rekorder serie keeps its high standards. Sounds a bit like Ellen Allien or Anja Schneider, but who knows who's done this.

> Gabriel Ananda - Doppelwhipper [Platzhirsch]

This is not that fresh, but I still haven't given due respect to this amazing techno killer track.

> Contemporary Household - She said [Bomzh]

Another funny record from Tok Tok's label.

> Jona - Blizzard [Resopal Schallware]

His recent Tizia EP on Get Physical is OK, but I prefer his deeper and tougher Moontalka/Blizzard ep, which was released on May.

> Fedde Le Grande - Put your hands up for Detroit (Claude Vonstroke rmx) [C2]

A groovy, funky and a bit freaky remix from Vonstroke -- a guy behind the Dirtybird label from San Francisco -- that should work very well on a dancefloor.


Some other highlights: Kompakt Total 7, Holger Zilske Meets Dave DK - Rainshower EP [Playhouse], Heidi vs. Riton - Vejer EP [Get Physical].

The special one: Max Brannslokker - Loadbang EP [Nomor] - Max is a young and talanted producer from Latvia; it's the first release on Toys for Boys sublabel. Nice!


The new Trentemoller track can be found in some other blogs, but if you haven't heard it yet, you can do it here.

And the track by Jona:

Jona - Blizzard


p.s. Also LP's by My My and The Rapture are coming soon.

Wednesday, September 06, 2006

Sonic Forest


This w-end in Riga there will be the much awaited festival Skaņu Mežs (The Forest of Sounds) which is the best electronic and avant-garde music festival in the Baltics. It happens for the fourth time, I guess, and every year it gets bigger and more diverse. Many Baltic artists of this kind are going to perform as well as prominent international artists (incl. Jamie Lidell, The Liars, Keiji Haino, but see the programe yourself).

For sure, this is unmissable event, but, sadly enough, I cannot attend it due to the fact that I am booked for DJ-ing at Riga nights in Hamburg. Well, Hamburg rocks too, and of course I am glad to go there, just a pitty that the good things always happen on the same time.

Wednesday, August 23, 2006

Slovenian post

Have you ever heard any electronic music from Slovenia? I could give you an example. It's a track that comes from Hurt Detal EP on Slovenian label !"@.*!% (what a name! Had to use copy-paste to reproduce it. How is it supposed to be promounced?). Surprisingly they are distributed by no more, no less but Kompakt, which is an indicator of good music itself.

Milos - Broken Crane

The first Latvian astronaut

The Latvian electronic music producer NGC-5128 (pictured on the photo while working) has a new release on Romanian net-label Exposed Audio (again that mysterious Romanian-Latvian connection, recently I've been enjoying some Romanian artists like M.Popaviciu and The Model, and now this comes on my way).

NGC-5128 is a one man project, and he is well known in Latvian underground e-music scene. His cosmic fantasies transformed into nice music, that's why I call him the first Latvian atronaut. Nevertheless the fact of being one of the best Latvian techno producers, this is his first public relese, if I'm not mistaken. So cheers!

Regarding the given release, the drums sound to me slightly too straight, as of typical old-school techno, but the deep basslines and synth melodies are what I dig for. But better have a listen and judge yourself.

Exposedaudio.org

Rekorder's order

Probably you know the story: a secret alias by a well known deejay for the "Rekorder" serie, which is going to have 10 12" records. In the end of the serie, the producer would be revealed (as it said at discogs.com). It seems (and sounds) that S.Bodzin and O.Huntemann are involved in this project. Well, nice concept, cool tracks.

No 4 and 5 were excellent records, and the new - number 6 - keeps the high standards. It's got that special Rekorder sound, but it's still surprising and deliviring new qualities. (I think it's time for looking where to buy it, sounds worth spending some $.)

Rekorder 6.1

p.s. Check Luciano's remix of the Amelie theme, it's published on Tape. So sweet.

Thursday, August 10, 2006

ethnoclash


Hello out there, I'm back from holidays in Latvia! It's time for a small report.

Apart from the usual ways of spending time there, I was playing at the open-air ethnic/folk and Jamaican music festival Laba Daba, a rather interesting and conceptual event in a beautiful place surrounded by a forest and sea-side nearby.

My initial idea was to present some (danceable) music that reflect meeting different cultures, styles and epochs, which is an interesting phenomenon particularly nowadays, when the world, indeed, turns into a global village physically and virtually. One can observe exciting musical mutations when local musical traditions (traditional music) get exposed to musical concepts from other regions or to the dominant global popculture.

Well, I guess, I could at least partly implement this idea and the party hapenned despite some problems with a tent for DJs etc. Ethnoclash (I call it this way, because "world beat/music" is a bit outdated, one can speak about "urban culture music", but it's not exact as well...) worked well. From brazilian funk carioca, which is influenced by Miami bass and hip-hop, to afrofunk/afrobeat -- a hybrid of African and Afroamerican music, to London's 2-step merged with Pakistani popular bhangra, to Finnish dancehall, to Konono (Congotronics), to gypsies music etc.

For downloading I offer a piece produced by Jacques Lu Cont (a.k.a. Stuart Price, a.k.a. Les Rytmes Digitales, he also produced the latest Madonna's album) with vocals from General Degree. It comes from the concept album Two Cultures Clash on Wall of Sound, which involves dancehall/reggea singers produced by well-known electronic music producers. Breeding Jamaican music with the electronic one, of course, is not a new idea (see Rhythm & Sound from Berlin, for instance), however, this album contains some interesting tracks. By the way, I was really surprised hearing this track after few days in the Fontain Palace, Liepaja.

Jacques Lu Cont feat. General Degree - And Dance

Friday, August 04, 2006

Chart - July


> M.A.N.D.Y. vs Booka Shade - Body Language (Jona remix) [Get Physical]

Get Physical keeps its high standards -- some claimed it was the best record label in 2005, however, it has a handful of superb releases this year too, and is arguably the best label in 2006 so far, at least for me. This time Jona gets his hands (and tools) on the classic label's track, keeping its melody but twisting it into Get Physical's typical "new" sound (which is particularly shaped by Booka Shade, Electrochemie, Jona himself and the likes). Two other remixes are by superproducers Trentemoller and Matt Edwards/Radioslave.

> The Model - Are you always on my mind [Gigolo]

This one comes from Gigolo's Showcase vol.9, and it's produced by some Romanian guy (again! M.Popoviciu is from Romania too). His release Robotiko on Traum Schallplaten didn't impress me at all, but the new track is really nice electro cut.

> Cassius - Toop Toop (O.Koletzki remix) [Virgin]

This disco-electro-house tune is quite poppy, but it's sweet, craftly produced and have that summer feel. And for this reason I prefer Koletzki's rmx, not Mr.Oizo's.

> Robbie Williams - Rudebox (Soul Mekanik remix) [White label/Chrysalis]

Surprise! An incognito release from R.Williams that - thanks god! - contains only remixes. Actually Soul Mekanik guys deliver a tasty, funky and groovy rework.

> Aaron Hedges - Deutsch Lerner (My My remix) [District of Corruption]

Lee Jones and Nicolas Hoppner a.k.a. My My are one of my favourite projects for some while, and this remix is no exception.

> Petter - Some Polyphony [Border Community]

The 2nd Petter's release on BC is out. Nice, very nice!

> Junior Boys - The Equalizer (Morgan Geist remix) [?]

Well, I'm not a big fan of their original stuff, however, Morgan Geist has done a great job, and the result is simply fantastic - it's got that special high quality electro(nica)/IDM feel plus something reminiscent of 80's synth-pop.

> Pan-Pot - Black Lodge ep [Mobilee]

Regarding some more minimal action than trancey summer tunes, Pan-Pot's new ep on Mobilee is darkish, but very interesting. Both tracks are yummi. In fact, few days ago another Mobilee's release (by GummiHz) has come out, but I haven't still got my hands on it.

> Extrawelt - Titelheld [Cocoon]

Not outstanding, but OK.

> Chromatics - Glass Slipper [Troubleman Unlimited]

A dark nu-disco piece with a hooky melody.


Few other pieces: Larsson - Automat [Bpitch Control], Damon Jee & Olivier Giaccomoto - Jamon y queso (Martinez rmx) [Echocord], Epic Man & Plan B - Move is enough (well, this is more hip hop, but neatly produced. I don't know anything about them, actually thanks the Tape guys for publishing this on their blog, and I can just agree that this shall be a big hit soon.)


M.A.N.D.Y. vs. Booka Shade - Body Language (Jona rmx)

Thursday, July 27, 2006

Bits and bytes


Hey, I'm back! Just in brief.

The Orgy party wasn't so good as expected due to the sound quality problems the first night. Apart from that everything was organized really well, but sound is crucial, ya know. If it sounds like crap it just sounds like crap, and no DJ can do anything about it. Actually that was the reason why Namosh finished his performance shortly after starting it. Too bad, he seemed promising and extremely funny. However, the 2nd night was much better. Cosy Mozzy had a great set, balancing between some more pop disco house/italo/electrohouse and more sophisticated stuff. I was surprised hearing him dropping in the old classic Spastik by Plastikman. Ivars had a nice groovy set as well. After all, the event was quite OK, but, however, the first night's sound problems had a negative impact. All the dear promoters and organisers should take into account that sound system quality and sound engineer do matter to make a party happen!

----------

What's new regarding music.

The new Extrawelt's single on Svath's Cocoon imprint is not as good as their brilliant release on Kompass if you ask me. It's somewhat more traditional, less twisted, but nevertheless it's a solid record, nice production and should work well on a dancefloor. Just check it out:

Extrawelt - Titelheld


Every release on the seminal Border Community label is a much awaited event. Some polyphony by Swedish producer Petter is a smart, interesting, but still melodic track. You can check the track on Random Circuits blog.


Recently I've been paying more attention to dubstep. Most of the earlier productions seemed to me too boring and doomy, but I must admit that the latest releases by Skream, Pinch, Burial and the likes are great. It's become more nuanced, more electronic, more leaning towards IDM and digital dub.

Skream - Glamma

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At the moment I'm working on several mixes. To be shared somewhere as soon as they are ready.

--------

All the best, enjoy the summer!

Monday, July 10, 2006

Guess the melody

Summer in the town. Instead of sweating in office, I would prefer spending my time on a beach and drinking Martini or Caipirinha. Let's hope it will come true soon, but at the moment I've got a piece of funk carioca. Can you guess the original song, from which this melody is taken? It seems that favela kids use and rip-off whatever they get their hands on. Amazing!

Here comes the song

It's taken from Funk Brasil compilation by DJ Marlboro.

Latvian DJs at the Orgy


I'm really looking forward to the Orgy party this w-end (two nights: July 14 and 15). I feel honoured to spin right after Namosh's live performance the first night. Furthermore, another Latvian DJ - Ivars Mednis, a good friend of mine, - gonna play on Saturday's night. Latvian invasion, hehe. Maybe I and Ivars will do some back-2-back as we sometimes do in Latvia, but maybe not, we'll see...

Apart from LV connection, above mentioned Namosh, Cosy Mozzy (representing Dirty Dancing club/label from Brussels), Moulinex Bros (two talented Luxembourgish guys) and Elektrash team (e-pop posse from Lux-Belgium) will participate in this event.

I missed Namosh's show in Hamburg, but those who had seen it said it was really cool, a bit wierd, entertaining... it sounds I should like it. At least his records are great.

Namosh - Picked up floozy

Tuesday, July 04, 2006

NB! chart - june


Time goes by so quickly - another month's gone. Some tunes I've been enjoying recently.

> My My - Swiss on rye [Playhouse]

My My project has anoter beautiful release - it's a dreamy, melodic and nicely produced tune.

> Compuphonic - 80s cops [Dirty Dancing]

Compuphonic is a young but gifted producer from Belgium. It's light and melodic italo-disco/80s/electrohouse stuff.

> Matt Flores - Wookie disco [Combination]

A killer track with a killer bassline. That's the way we like it.

> Anja Schneider - Addicted [Mobilee]

This comes from her last 12" Lily of the Valley. Although the title track is good, I prefer the B side - a hypnotic, dubby tech-house (or shall I call it minimal?).

> Franz Ferdinand - The Fallen (ruined by Justice) [Domino]

The remix delivered by Justice is extremely funky. Phrenetic breakbeat, crazy sampling, and damn hooky.

> Tres Demented - Shez satan [Planet E]

An analogue monstrous piece with a spooky vocal reminescent of Green Velvet or some oldschool acid house trax.

> James Lidell - A little bit more (Luke Vibert remix) [Warp]

James Lidell - the outstanding electronic soul music singer and producer - has got a new album Multiply Additions. As the title suggests it contains remixes and live versions. I particularly enjoy Luke Vibert's rmx, which is a groovy mid-tempo tune with an acid flavour.

> Guido Schneider - Super sander [Poker Flat]

It's taken from his recent Focus on LP, which is a masterpiece of percussive, dry minimalism. Note that the CD and vinyl versions are signifacntly different - the latter contains just 6 trax, whereas on CD few astonishing remixes and his other productions are added.

> Brendon Moeller - Birth [Echocord]

Deep and smooth, and elegant.

> Simian Mobile Disco - Hustler [Kitsune]

A smashing party record - electro(clash) with an analogue acid feel. SMD has always been good, and this is by far no exception.

Thursday, June 29, 2006

Future soul


Ol' good soul music as it sounds today. The looker Jamie Lidell is one of them who bridges soulful singing and innovative production. There are some great remixes and versions in his recently released Multiplu Additions. In my opinion, one of the best is Luke Vibert's rmx: some nice sampling in the best Ninja Tune traditions and a ravish acid synth line.

Jamie Lidell - A Little Bit More (Luke Vibert mix)

In this album-compilation there are two nice reworks by Herbert too. He's got his own new album as well. Micro-electro-accoustic-orchestral-disco songs made out of samples that arranged in rhythmic structures and accompanied by sweet vocals. Can you dig it?

Herbert - Movie Star

My oh my


Playhouse's project My My simply kicks ass. All their three releases are great and different: Klatta ep is a groovy microhouse (microfunk?), Serpentine ep contains more straight, trancey and trippy tracks, whereas the last Swiss on Rye is simply brilliant melodic electronic music.

My My - Swiss on Rye

Monday, June 26, 2006

Latino robots


Last week I had a possibility to enjoy a performance by Senor Coconut and his orchestra during Fete de la musique in Luxemburg. Surely, it's a music for fiesta! Latin meets jazz meets electronica. Well known pop classics with a totally different flavour. Somehow contradictory teutonic coldness (e.g., Kraftwerk) coupled with south american vividness.

It is an actual band with brass instruments, marimba, vibrophone, drums and percussions, and a vocal. Maestro Uwe Schmidt himself with a stone cold face is standing with his laptop a bit in background thus contrasting to lively jazz musicians. You may like or dislike his latin affair, but no doubt that he is a great producer (standing behind such monikers as Atom Heart, LB, Flanger among many others). I found their show greatly entertaining.

Senor Coconut and His Orchestra - Riders on the storm

Klakson attacks


Checked the things in Amsterdam... For going out I opted for the Electronation's Rex night at Sugar Factory, which presented Klakson's artists: Dexter, Mr.Cisco, Steffi. E-Nation are always having good electro parties, and this time was no exception.

The seminal Dutch electro producer Remy Verheijen aka Dexter was announced to play live. A guy standing behind a laptop and conducting raw electro funkiness. More towards classic electro, which was nice, but, on the other hand, it would better fit in some more underground venue than the Sugar Factory Club.

It was a good performance, although I better enjoyed Francesco de Bellis' DJ set in that particular moment. He is also known as Mr.Cisco, participating in such projects as Jollymusic and Pigna People, hence his tunes were more melodic, leaning towards italo sound but avoiding being too sweet. He dropped some nice acid house stuff as well. I enjoyed his music (and his mixing skills, which were awesome) without dancing. Beforehands we bought and took some legal herbal stimulator, but instead of getting in a dancin-groovin-moovin mood we felt dizzy, a bit trippy and sort of stoned. So be careful with these things which are sold in smart shops and are unknown to you - sometimes you just do not get what is promised.

Mr Cisco - Electrotec

Monday, June 12, 2006

Where all the foxes are?



The new Trapez Ltd. release is not as dumb as Paxi - Fixi song but it's still funny :)

Foxes are usually eating sheep, but tonight - they are in a box


Und - Fox in the box

Proto-dubstep?


The project Bergheim 34 had few but interesting releases on Klang Elektronik (a German record label, which is an offshoot of Ongaku Records and it's related to Playhouse too). Their first release Sechstrack LP (technically it is more an EP though) from 1999 contained six different tracks. I found that one of them sounds a bit like dubstep - of course, it's not exactly dubstep, but it has that kind of dark atmospheric melody and some other elements. Check yourself!

Bergheim 34 - E-edit

Friday, June 09, 2006

Five stars


This is just a quick post about few things I enjoy a lot lately.

1) Hot Chip - The Warning

This is the kind of popmusic I like: it is melodic, catchy, ironic, but still a bit freaky and having interesting production. Some may call it indietronics or whatever, but to me it is just nice music.

Hot Chip - Careful

2) Rekid - Made in Menorca

Oh, this is so dark and so deep. It's amazing how he achieves such a nice effect using so minimalistic means. It's not the first record where dub meets electronic music but the way it is done is pretty unique, and this is a characteristic of good music - when the first time you hear it, you think: "damn, I've never heard anything like this before! I even couldn't imagine that something like this exist." For example, I haven't heard better ambiendub piece than Priya for many years. Amazing tracks are Lost Star 6 and Retro Active. In fact, there is no need to distinguish any seperate track, because all tracks taken together work so well.

Rekid - Priya

3) Extrawelt - Ferweh/Drehfehler

The new Extrawelt release is another outstanding record which grabbed my attention. Twisted beats, unfolding melodies... Better judge yourself.

Extrawelt - Drehfehler

Tuesday, June 06, 2006

NB! chart - May


Finally I've managed to draw a line and select some tracks which I enjoyed the last month.

> Extrawelt - Drehfehler [Kompass]

There are two trax out on a brand new Kompass Musik imprint from Hamburg. Both are brilliant, might be even better than their famous release on the Border Community. I'm sure that we will get some more goodies from these guys.

> The Knife - We share our mother's health (Trentemoller rmx)

The Knife is still rocking, and this rmx delivevered by A.Trentemoller is probably the best of the remixes so far. His recent Nam Nam ep on Poker Flat is a solid record too, not outstanding though.

> Remute - Please say something [Ladomat 2000]

Funky and catchy as hell. I was impressed by his live gig, which I saw in Hamburg a couple of weeks ago.

> Ellen Allien & Apparat - Way out (Robag Wruhme rmx) [Bpitch Control]

It's got the typical Whrume's qualities, but this time he's gone even a step further. It's not minimal, it's not IDM, it's just something wierd. I like it.

> Losoul - Cut so sweet [Playhouse]

The first time I checked this one at a record store, and it seemed OK, but it didn't really impressed me. However, after some more listenings I'm pretty hooked on its simple, darkish melody.

> Rekid - Lost Star 6 [Soul Jazz]

His Made in Menorca LP is an instant classic. Steady electric bleeps married with dark dub atmospheres. Phat and wickid!

> Dan Berkson & James What - The Dig [Poker Flat]

A great tech-house release.

> [T]ekel - Smet [Initial Cuts]

Have the [T]ekel guys become milder (following some other producers, e.g. Eulberg)? At least this track and their recent remix of Metope are calmer, more detailed than their classic banging, metallic tech-house stuff. On the other hand, it does not mean that quality is worse, no, not at all - a cool melody and very nice, smooth work with sampling.

> Gabriel Ananda - Ihre Persönliche Glücksmelodie (Dominik Eulberg Remix) [Karmarouge]

The original was a seminal hit as you may kow, but for those who prefer more "micro" sound, here comes a quality rework by D.Eulberg. He is teasing with the original melody, adding some more fire in the ending part. Cool! Be sure to check also his remix of Pier Bucci's L'Nuit, which is out on Crosstown Rebels, and Ananada's (co-work with Cio D'or) on Treibstoff. All of them are remarkable records.

> Phillips Sharon - Want 2/Need 2 (Switch rmx) [Gut]

You remember Trentemoller's remix of this song? Switch's rmx is good as well - it has references both to the traditional house music and to the more twisted cut-up style.


p.s. Hot Chip is not strictly electronic and underground, but their new album is brilliant. Over and Over is do damn catchy!

p.s.s. Check also A.Kubikov's aka SCSI-9 album on Kompakt. It is very melodic - you like it or hate it. (I find it pretty good.)

p.s.s.s. Carl Craig's rmx of Revelee is finally officially out on DFA. If you still haven't heard it - do not hesitate any longer!

Friday, June 02, 2006

Fridays cheese


As you have probably noticed May is over. It's time to make some resume about last month, and make some chart (inspite of my laziness). But before the actual chart I'd like to post the last month's silliest song, tra ta ta!, here it comes, listen to the deep and thoughtful lyrics and hold to your chairs:

Paxi - Fixi

Raw and dirty


Nowadays the world of music literally has no boundaries and everything gets remixed, bootleged, cracked, reinterpreted. Mainly thanks to the Net and cheap computers. Strange breeds of music occur in Rio de Janeiro, Middle East or Tokyo, mash-ups, remixes, plundertronics... all kind of shit. That's amazing! That is so post-modern, whatever it means!

But taking into account the huge amount of music and info surrounding it - it's impossible to keep track on what's going on: a) everywhere geographically; b) in different genres. In this case some trustful info sources can help with an advice, e.g., specialized music blogs. Regarding the music that used to be called "world beat" (you can add/use some of these adjectives: ethnic, eclectic, ghetto, underground, raw, dirty...) one of the guys, who no doubts digs it, is dj/rupture. I saw him once playing in Berlin - he was awesome!

Today an idea to check some things about him led to his blog, which, I suppose, might serve as a useful resource. So, voilà, here it is:

negrophonic.com/words

At his blog I found the link to another cool blogsite more specializing in funk and related stuff:

dubruit.blogspot.com

Enjoy, I will!


btw, does anyone knows whether Diplo has a private blog?? He might be also a good source for this kind of music. Today at Pitchforkmedia I read an interview with him - it's old one, but he is telling some amazing things. For instance, about Rio - how favela kids make music and have fun:


Pitchfork: What are the parties like?

Total madness. The sound system is a 25-30' set of speakers that are
like 60' long. They're in basketball gyms, but I can't imagine anyone playing
basketball in them. They're for parties. I think five years ago there were a lot
of articles written about it because of the fights and the guns and things, but
every party I've been to was really fun. The [kids] might get frisked or checked
before they get in, but the parties are generally really safe and its just kids
having fun. It's real sexual, though, the dancing.

Everything about it is super-intense. If you have to travel like 30
minutes to a favela on the outskirts of the city, on the way back you'll be
stopped by like three or four police roadblocks with machine guns and they'll
make you get out of your car. Just to get into a favela, you've gotta turn your
headlights off and the lights in your car on-- you wanna make sure that the
people in the favela know that you're somebody cool and not an undercover cop or
in a rival gang so they don't snipe you right off the bat. I thought it was a
normal custom and then after a couple of times I was like what, this is crazy--
I realized I'm lucky that I haven't been shot.



Ain't it fun? Ain't it hardcore? It sounds for real, real life, ya know... I would really like to see it one day... Also V.Delay told me how impressed was he after visiting favelas in Rio de Janeiro and seeing how music is made there.

Regarding Diplo today his remix of Teddybears feat. Mad Cobra - Cobra Style is released. The original was/is great, and I expect that the remix should be good, too, so it's time to start looking for it.