Sunday, 25 December 2011

The best of 2011 from The Techno Demon

Here's what was doing it for the techno demon in 2011, maybe when 'it' can mix the identity shall be revealed. no specific order

Perc Trax - Been a strong year for perc trax. Definitely the new home of industrial techno. A solid album from Perc, and lots to look forward to next year with the FSG full length

Stroboscopic Artefacts - Dark, abstract, idm style, head fuck techno. Lucy's album 'wordplay for working bees' and xhins 'sword' have been two of the years best. Its not all about the 4/4 and SA has been putting out interesting, atmpospheric electronica that wouldnt sound out of place on a warp records release

Auxiliary - ASC'S new label. Been really enjoying the experimental/ambient stuff coming from ASC. His mix for mnml ssgs is an excellent example of the dnb he's familiar with, plus the more ambient electronics we're hearing from him

Broken 20 - TVO is a new name to me these past few months. His excellent mnml ssgs mix brought him to my attention, and everything i've been hearing such as his remixes of isodyne, perc, have done enough to strengthen the labels reputation. His set at the wax works nights was top drawer stuff and his mix for the wax works site i have listened to loads!


Falty Dl - You stand uncertain - Planet Mu... More song based than any of my other picks. Some great melodies and vocals on this album. This album gets the girls dancing too. Very accessible and very funky!

Perc - Wicker and Steel - Perc Trax....Raw, abrasive, steely techno. Industrial techno never comes across that well on the album format, but this is a fine example of it!

Tycho - Dive - Ghostly International... Nice, relaxing home listening sounds that remind me of boards of canada.

Kangding Ray - OR - Raster Noton.... There's a big hype about raster noton. Im not gonna lie, im not keen on the vast majority of the stuff thats released on the label. Enjoyed Senkings, Pong from last year, but their a bit 'too ' experimental for my tastes. However, OR is much more accessible. Another home listening album, the sounds, melodies, moods created on this album are dark and brilliant

Lucy - Wordplay for working bees - SA... Shades of aphex and autechre and other early IDM artists with this album. Album standout 'Gas' is proper good head fuck material. This album is best played at 5 in the morning after the club

Wednesday, 21 December 2011

2011's best, courtesy of Truman Data

Here's what was doing it for Wax Works' Truman Data in 2011 - watch out for his Live set which should feature on the blog in 2012.


1. Morphosis - What We Have Learned
2. Andy Stott - We stay together
3. Villalobos / Laderbaur - re:ECM
4. Legowelt - The Teac Life
5. Sandwell District - Feed Forward
6. BNJMN - Plastic Worlds
7. Steffi - Yours & Mine
8. Cosmin TRG - Simulate
9. Stereociti - Kawasaki
10. Deadbeat - Drawn and Quarterd


Acid Test 01 - Tin Man
Pinch & Shacleton - Boracay Drift w/ Morphosis remix
Omar-S - Here's Your Trance Now Dance!
workshop 12 kassem mosse
Miles - Facets


Modern Love
Honust jon's
Absurd Recordings
Ethereal sounds

Next up we'll have Wax Works part 2, the picks from our own techno demon, the very best mixes 2011 offered and we will close out the year with Wax Works mix 04 (I think/hope).

Friday, 16 December 2011

Best of 2011 from Quail

Here's a few things i've enjoyed this year…


Shifted - probably my artist of the year, coming from the relative unknown to become one of the most talked about and in demand techno producers is no mean feat, considering he's only released a handful of EPs.

Truncate - great moniker of LA's Audio Injection. The more stripped back style of his productions in no way hinders every track's ability to destroy dance floors.

Skudge - raw, analogue techno at it's best. Some amazing live set recordings have been floating around all year.

Markus Suckut - excellent, upcoming German producer. Ticks all the boxes in terms of production. Great first release on his own imprint due soon, the future is bright!

Shed/EQD/WAX/Head High - Mentioned by Iain already but definitely worth another shout. This man can do no wrong as far as I'm concerned. With a multitude of different aliases each with their own unique take on the techno/house aesthetic.,

others….Milton Bradley (Do Not Resist The Beat), Mike Parker. Forward Strategy Group, Marcel Fengler, Youandewan, Italojonson, Marcellus, Deepchord, Frozen Border/Horizontal Ground, Jonas Kopp….2011 has seen some amazing releases from this lot, too many to mention :(

A special shout to Mr Copy who provided me with three edits of some well known tunes that I haven't stopped playing this year!


Stoboscopic Artefacts
Mote Evolver
Deeply Rooted House
Sandwell District
Our Circula Sound
Analogue Solutions

Lastly…My favourite compilation/collection of music this year has got to be Regis' Adolescence : The Complete Recordings 1994 - 2001. 3 CDs chronicling the rise of the Birmingham sound, loving hardbound in a linen cloth book. Essential.

All the best for 2012!!


* Animal Farm have Roland at the Sub Club on December 28th & Sandwell District on January 6th - not to be missed.

Tuesday, 13 December 2011

Best of 2011 Part 1

So this is the 1st part of our end of year lists, up first is yours truly followed by the choice cuts from a few of the Wax Works crew, TVO, Quail (Animal Farm) and an unidentified techno demon. We'll also close out the year with a post featuring the very best mixes from 2011.

As always, if you're into the music on here please buy it.


Soft Kill - An Open Door

I doubt this will feature on many lists and many of you probably wont be into it, but I stumbled upon them while checking out some Tropic Of Cancer tunes on YouTube and I was hooked straight away - since then I've played their album almost every day, way more than any other piece of music I own, so for that reason it has to be my number 1 for the year.

If you're into the Tropic Of Cancer stuff then I think you'll like it and I think they share a similar kind of aesthetic to Joy Division.

Soft Kill - Feral Moans

John Maus - We Must Become The Pitiless Censors Of Ourselves

An album that provokes academic discussion and deep thought.. Well, that's what I've read - tbh I bought into the hype, checked it out and just really loved the tunes. Do the same.

John Maus - Cop Killer

Planetary Assault Systems - The Messenger

The only 'techno' album on the list, but it is an absolute monster of an LP. Plenty of tracks that will just destroy dancefloors, I have to think that after this album PAS must be the most exciting techno live act around. Has there ever been an artist name that fits so perfectly to the music? These are tunes that are made to soundtrack intergalactic wars and the destruction of worlds - proper techno.

Planetary Assault Systems - Rip The Cut

AraabMUZIK - Electronic Dream

So I took a bit of hassle from some of the crew for this one, but fuck them. It is Trance/Hip-Hop and probably the last thing you would expect to find here, but it is just a collection of fun, unpretentious tunes made by a guy and his MPC.

AraabMUZIK - Golden Touch


Time To Express - Labyrinth EP

There's not a single release that comes close to this one in 2011, 4 excellent tracks (although I wasn't feeling the Parker one as much as some) that will be a mainstay in my record bag for years. The pick of the bunch for me is Giusy, absolutely killer tune.

Peter Van Hoesen - Rites De Passage-Naeba Variant

Kassem Mosse - Workshop 12

Another absolutely essential record from Kassem Mosse on Workshop. A monster 14 minute long A side is the standout track for me here, check it out and buy it if you can.

Expecting big things from this man in 2012, let's hope someone brings him to Glasgow.

A Side

Burial - Street Halo EP

It was massive news when the new Burial EP was announced and rightly so, there's lots of people who imitate his sound but absolutely no one who can create the same feeling and emotion from their music. You can still grab a copy of the vinyl at Boomkat and I would recommend doing so if you don't have it already - superb music from one of the UK's most amazing producers

Burial - Stolen Dog

Sigha - Politics of Dying

Absolutely solid techno EP here from Sigha which features a brilliant original mix from the man himself, a very cool dubby-ish remix of 'over the edge' from Shifted and a remix of the title track from James Ruskin. This is a must own record for any techno DJ as all 3 tracks are of the highest quality.

Sigha - Politics Of Dying (Ruskin Remix)

* we have rescheduled the party with Sigha, he'll be at Wax Works in early 2012.

EQD #5

What can you say about Shed's music that's not already been said?
Listen to it and buy it.

B Side

Finally here's my favourite labels from 2011

Delsin/Ann Aimee
Idle Hands
Sandwell District

Feel free to leave your thoughts on my choices and/or what records/artists were doing it for you this year.

See you in 2012


Friday, 9 December 2011

Goodbye.. For Now

So this Saturday we'll be playing our last gig of 2011, it's a pretty low key affair in a REAL hairdressers that'll hopefully finish our year of ups and downs on a high. Now you may have noticed that the blog has been neglected somewhat recently, but that is all set for change as of 01/2012 - we're upping our game in our attempt for world domination. So expect more exclusive mixes, more interviews and plenty of moans, plus we're also going to feature more regular mixes from the Wax Works crew and close affiliates.

Now forgetting about next year for now, I just want to thank everyone who has been involved in or supported Wax Works over the last 12 months, all the DJs who have played for us or recorded mixes, everyone who helped out with the parties, all the people who have taken time out their lives to read this pish, listened to the mixes and/or attended our parties - thank you. Also massive shouts to our friends at Animal Farm, No Sleep, Bigfoot's, Loop, Broken20, Point4, Code, Jak & Scenic Tones (sorry if I've missed anyone) - we appreciate all the support and have you all to thank for improving the scene in Glasgow..

2011 may be drawing to a close and you might be short on cash due to Christmas, but there's still plenty of great records being released that you need to buy (Mike Parker on prlg & DNRTB07 especially), excellent parties to attend (Robert Hood, Rolando, Patrice Scott) and there's the always contentious end of year lists to disagree with, of which we'll be doing our own with the inclusion of the selections from a few of Glasgow's finest techno minds/selectahs.

But, for now, consider this goodbye from us for 2011 and hopefully we'll see you at The Halt on New Years Day where we'll be kicking 2012 off in forgettable fashion.


Tuesday, 15 November 2011

TVO Tracklist

Here's the TL to one of my favourite mixes this year, massive thanks to TVO for this.

Check it out again here and catch TVO @ Wax Works this Saturday, he'll be playing tunes from 9pm until 12am. Aye.

Angel - Paradign Shift (Editions Mego)
Byetone - Topas (Raster-Noton)
Nanorhythm - Continental Breakfast (TVO For Thor mix) (forthcoming Broken20)
Mark Ernestus - Meets BBC (Honest Jon's)
Perc - You Saw Me (TVO Cherry Ripe mix) (Perc Trax)
Sigha - Politics of Dying (James Ruskin mix) (Our Circula Sound)
Midland - Bring Joy (Youandewan Warehouse dub) (More Music)
Redshape - Shaped World (Delsin)
Emptyset - Altogether Lost (Peverelist edit) (Caravan Recordings)
Cyan 341 - Disconnected (See The Road mix) (Uncharted Audio)
Ike Release - Outrun (Infrasonics)
F - The Untitled Dub (7even)
Plastikman - Tom tom (1995) (M_nus)
Vince Watson - Pressure (Steve Rachmad Stripped edit) (Bio)
Terrence Fixmer - Dance Like Paranoid (Marcel Dettmann mix) (Electric Deluxe)
Obtane and Giorgio Gigli - Social Deconstruction (Zooloft)
Lucy - Tetrad (Stroboscopic Artefacts)
Mike Dehnert - Minimum (Fachwerk)
LB Dub Corp - Native Dub (Mote Evolver)
Ventress - AVN002 A1 (Avian)
Matt O'Brien - Without Warning (Off-Key Industries)
Marcel Fengler - Thwack (Mike Parker mix) (Mote Evolver)
Dax J and Chris Stanford - Programm (Shifted remix) (Ear To Ground)
Cio D'Or - Wasserkraft (Silent Servant remix) (Prologue)
Pacou - Response (Tresor)
Planetary Assault Systems - Function 4 (Marcel Dettmann remix)
Octave One - The Greater Good (Luke Slater remix) (430 West)
Isodyne - Uillean Drone (Broken20)
10-20 - Magnetic Marsh excerpt (forthcoming Broken20)

Tuesday, 8 November 2011

Wax Works meet TVO

The 19th November sees us return to one of our favourite spaces in Glasgow 'The Old Hairdressers', situated on Renfield Lane opposite Stereo it's a place for those who know. This time we have Glasgow's own TVO down to play some tunes, and before he melts our brains with some future music he kindly provided us with a fantastic mix and interview.

Full details for the party are on the artwork above, but I can also confirm that anyone in attendance will get a discount on the entry to CODE w/ Perc @ La Cheetah that evening.

Anyway, hope you enjoy the insight into TVO's world.

From our perspective this year seems like it has been a success in the world of TVO, with a Resident Advisor feature, a fantastic contribution to the mnmlssgs mix series, excellent gigs at the likes of Plex & BLOC and also some fantastic EPs on your label Broken20. It's strange then, that your gig at Wax Works will be your first in Glasgow for almost 2 years - why do you think that is and what is your opinion on the current scene in Glasgow?

Things were static for a while in Glasgow I guess, but there's a lot of new-ish nights coming up that seem to be booking some good artists - Mount Heart Attack, Animal Farm, yourselves, Tribute etc. - plus some of the nights that were putting on heavy stuff all night like Code are booking some really interesting guests. Techno-wise it's gone from a year ago there being a dearth of decent bookings to this period at the end of 2011 when there's FSG, Sigha, Shifted, Perc and Lucy all playing within a few months; that's some of the best artists of the year.
However from the more experimental side, the city is extremely poorly served. In London for example you can see dubstep, techno and experimental stuff all in one night in one venue; whether there's no appetite for that here or it's down to the restrictions below, I'm not sure

Glasgow, largely due to the ludicrously inflexible licensing laws and tied to a lack of multi-room club venues is really still caught up in the idea of booking only 'headliners' as the restrictions put the emphasis on spending money to get a big name for the end of the night. It means that local producers, or people who don't have a 'big' release out, or artists that straddle the middle ground between peak time and more thoughtful stuff, definitely have an uphill battle to get dates on their own turf. In addition unfortuantely I think that as media attention turns to Glasgow as being somewhere 'cool', the emphasis falls on putting night on that will appeal to the majority.

The Sub Club is regularly heralded as one of the best venues in the country, but would you agree that techno doesn't really feature on their agenda and with the demise of the Soundhaus, Glasgow doesn't really have any medium/large venues that are suitable for a techno party?

The Sub is defintiely an amazing venue to play at, but certainly doesn't feature nights that I'm that into - the exception being Highlife, who seem to be doing something quite interesting, and the occasional Animal Farm night there. I don't think that the sort of nights we're talking about are necessarily suited to the Sub though. For my money the best venue in Glasgow for that sort of night was the old Art School, provided you brought more sound in; 2 floors, a good size, chep drink etc. Hard to think of anywhere of a decent size that fulfills that now.

You were a 'Numbers' resident DJ for 7 years, what are some of your favourite memories of being involved with them?

Meeting and playing alongside my heroes, really; Surgeon, Errorsmith, DJ Pete both alone and with Vainqueur as Scion, Actress, Autechre, Monolake, Pendle Coven, Sleeparchive....the list goes on. Playing test presses of my new 12"s to 800 or so people before Moderat in the ABC was pretty good. Playing before Squarepusher. DJ Funk live, anytime he played. The last Numbers I went to was the one with Robert Hood, Levon Vincent and Jus Ed and was a good way to leave, all three were amazing.

Your label Broken20 has 4 full releases to its name with a 5th on the way in the near future, what made you decide to start up the label, how has the experience been and what advise would you give to others who want to set up a label?

I always said I wouldn't start a label, that headaches/costs/admin etc always seemed like the least fun part of it...but people kept sending me great music, and I was feeling limited in what I wanted to do. I knew that Highpoint Lowlife, who had been the home for my more experimental stuff, was going to be closing, and Stuff Records who I'd done a couple of 12"s for were merging into the Numbers label - which had a pretty different sound - so I thought I'd have a go. The response to the first release was overwhelmingly positive, and got me making connections with other artists, djs I figured I'd keep it up.
We (I run the label with Dave Production Unit, who handles press and PR, and Dave Erstlaub, who's our Art director) made a concious decision after the massive ressponse to our last release (from FSG's Isodyne) that we would ramp things up, get more releases out, do some different things with it.
It's been really rewarding but a lot of hard work. The best thing though has been discovering that lots of people will help with advice, or doing a remix, or just doing their bit to get support out...I've been nice to people in the past, mainly because I'm a nice person (ha) and that definitely comes back to help when you're asking for a magazine fetaure or radio play! In particular Richard from Stuff/Numbers and Thorsten who ran Highpoint Lowlife have been a constant source of advice and help - my advice would be to always speak to people with experience in runnign a label before making the jump yourself. Also, having something to make you stand out...our first release was quite unusual, a combined EP and album, and we've got some different formats, interesting remixers etc coming up. There are hundreds of releases each week coming out and unfortunately you need something to stand out from the crowd - an anonymous techno 12" will probably get lost in the sea of the rest of them

So far all of the releases have been digital only, what was the reasoning behind this decision and is a vinyl release something that you hope to do in the future?

rrr it's purely on the basis of me having a family to feed! I'd love to do vinyl, of course, but the cost is prohibitive. We're doing ok sales-wise on digital, and we have a couple of DVD releases and a casette sub-label coming up. A physical package is definitely important. I'd love to get our 06 release out on vinyl as it's really string with two amazing remixes - need to see if i can scrape the finances together. A few more gigs would certianly help that!

When is the next release out, where can we buy the current releases and what can we look forward to in the future from Broken20?

All our releases are available both direct from the label at , or through Boomkat/Juno/Rubadub/Zero" as standard. Current release is the Isodyne EP, 4 tracks of dubbed out Chain Reaction sounding techno from Forward Strategy Group's Patrick backed with a remix from me...then at the end of November there's a debut EP from London's Nanorhythm, which is more in a classic electronic vibe, which comes with 2 mixes from me and a great experimental garage sounding mix from Infrasonic's Spatial.
Following that, there's a DVD/digi release of noise/drone/experimental from a guy called John Cohen, which we're really excited about - the DVDs look beautiful, i'm busy hand stamping them just now!
Next year our cassette sub-label, broken60 starts; it's helmed by Production Unit, and the first release is from 10-20 who did stuff for Highpoint Lowlife. It sounds like dancehall recorded underwater in a metal pipe, it's completely mental and lush. Finally the next two B20s are out in Jan/Feb next year - a Production Unit EP which will undoubtedly be our biggest release yet, as it has mixes from Perc and Paul from Emptyset accompanying it, and an album from a guy called Penalune from the States, which we're in the middle of trying to sort out a rework from Leyland Kirby.

As for new releases, you have 2 excellent remixes coming out on Perc Trax shortly I believe. Can we expect anymore solo material from you and will there be any further involvement with Perc?

I'm working on a new album just now, probably for B20 or B60, which is back to an experimental vibe - it's tying in with two shows we're doing as a label showcase in Brighton and London next year. Nothing planned with Perc Trax but i'd obviously love to do something else with them into the future. It's great that Ali Perc is so open-minded as to release some pretty experimental mixes of his album as well as more straight-up dancefloor ones

You recently played live at Plex in London as part of one of the best techno lineups I have seen in a long time, what was it like to be part of an event like that and can you give us some insight into the TVO live set?

Yeah it was an incredible night really; unfortunately my set time clashed with Surgeon so I only caught a bit of him, but Peverelist, Andy Stott, Perc and Neil Landstrumm were all amazing. The Plex guys shave been incredibly supportive of me and I've played a fair few times for them, and Colony (who were co-promoting the event) as well. It's a real honour to be involved in nights like that.
Live in a club it's obviously straight up dancefloor stuff; i use Ableton and an NI Maschine to rework stuff on the fly, along with an array of wee effects boxes and noise makers for adding live textures and loops. I always play that sort of set through a dj mixer rathe than a studio desk - it makes it more immediate and dynamic for reacting to a crowd and giving you hands on control over eq/kills/punching in and out - sometimes live techno suffers a bit from 'fader fatigue' as everything gets slowly brought up and down.

At Wax Works you're playing for 3 hours, do you approach your live set differently from a DJ set and what are the main differences between them? Also, do you have a preference?

I like them both, but for obvious reasons i do find playing live a lot more stressful - there's simply more that can go wrong. After playing out for a good 10+ years solo you'd think I'd get over the nerves, but unfortuantely not...Djing means you can do a lot more with the time, and obviously 3 hours is a total gift for covering a broad spectrum of stuff. An hour live set pretty much has to go in a linear route from A to B...a 3 hour dj set lets you bring in peaks and troughs.

Social Networking plays a huge part in the world of electronic music these days, as a frequent user of Twitter, how important do you think it has become for artists/labels/record shops and do you think the changes it has brought have largely been positive?

It lets you connect to other like-minded people - promoters, other artists, etc - that just wasn't possible before. I can't begin to list the benefits of being able to get bookings, promote releases, directly interact with people who're into the music, or simply to chat to other djs etc. It's transformed the way musicians/labels etc interact.

The ever increasing popularity of the digital artist has seen the arrival of large scale online piracy, where music is shared freely across the internet. Why do you think so many 'fans' are quite happy to download the majority of their music for free and what, if anything, do you think can be done to combat piracy?

Nothing. It's going to happen, it is happening. I've got half my bookings from people who openly admit that they've heard my stuff from d/ls, and so we as artists and labels need to try to get people to purchase through other means - physical packages, deluxe art, or whatever - or find other ways to make money. It's depressing but there's no point getting hung up on it - it's a fact that will never go away

Do you think services such as Spotify are any better than downloading the track illegally? As the money received from Spotify is next to nothing and the listener will never need to buy any of the music as long as they are a subscribed member.

Got to be honest and say i know next to nothing about Spotify, so lets skip this one : )

Finally, what artists are on your radar, but need to be on ours and what can we expect to hear from you on the 19th?

You'll hear a range of stuff from me, from Raster-Noton style minimal beats, through dubstep and electronics into techno. But to me, pretty much everything is techno : )
Artists: Kwaidan is a new neame, making techy bass music with a dark edge. Abdullah Rashim is a name a lot of people seem to be buzzing on - Chris from the mnmlssgs blog sent me some of his stuff and it's really good, advanced minimal gear. It's getting some buzz already, but the Ventress record on Shifted's Avian label is absolutely killer - every track is a keeper. The Container album on Spectrum Spools - usually an experimental synth label - has some lo-fi drum machine jams on it that sit great next to more conventional stuff. There's a guy called Mick Finesse from the States, who's doing a release for Perc Trax and a couple more soon I think, who's sent me some stuff - great doomy techno that has an experimental twist to it. And on the experimental side, Tengui, who's just remixed Perc, looks like a force to be reckoned with in the drone/dark ambient side.

Massive thanks to TVO for the in-depth response and the fantastic contribution to our mix series, we'll see him and you on the 19th.

Check out the mix HERE ---- Download HERE

Monday, 31 October 2011

Wax Works Tracklist

Here's the tracklist for the latest mix.

Pendle Coven – IAMNOMAN
Monolake – Reminiscence
Delta Funktionen – Nebula
Relay – Untitled 2
Furesshu – Downstate
Redshape – Plonk (Dub)
Back Pack Poets – Objective g
Abdulla Rashim – Asayita
Mike Parker – Acromion
James Ruskin – The Divide
Planetary Assault Systems – Angel Stree

Listen again here

Thursday, 27 October 2011

Some Records

Here's a couple of records, released in the last few months, that we recommend you check out. There's Regis' first techno EP in 10 years on the highly limited label 'Blackest Ever Black', An excellent double EP from Time To Express plus new music from Sheffield's finest 'The Black Dog' and Luke Slater [With ASC] ahead of their forthcoming albums.
On the house front - the Rawax EPs and Mark Ernests meets BBC on Honest Jons are both doing the business for us.

Check out some of our favourite tracks from the records below and as always - support the artists, buy the vinyl.

Regis - In a Syrian Tongue

The Black Dog - Liber Kult

ASC/LB Dub Corp - Parallel 1

Various - The Labyrinth

Various - Rawax part 3

Mark Ernestus meets BBC

Tuesday, 25 October 2011

Monday, 19 September 2011

Forward Strategy Group Tracklist

Here's the tracklist for the awesome FSG mix.

peter van hoesen // desay duty
hula // freeze out
gideon // mr gust
shifted // structure
zadig // CRF001
soul capsule // waiting for a way
heiko laux // dubfix
grovskopa // atopic // delta funktionen mix
shifted // drained
r.sawlin & subjected // untitled 01
mike dehnert // montage
gideon // need no permission // extended mix
teste // praecox
dj qu // juicyfruit
gideon // fair trade
analog solutions // 001 b1
w-moon // top of bottom
andy bowman // yance
dino sabatini // modulation a
mada // micron // niereich mix
tommy four seven // g // regis mix
perc // my head is slowly exploding // ancient methods mix
ade fenton // broken // chris mccormack mix
female // backlash // female edit
forward strategy group // arcnet
phantom regiment // breaking earth's atmosphere
traversable wormhole // superluminal // sleeparchive mix
casual violence // dense // walker fsg uilleann drone mix
forward strategy group // machine drone 07

If you haven't checked it out, you can do so here.
And you can see them play in Glasgow on the 7th October.

Wax Works on Subcity radio

Tomorrow night we will be appearing on the Animal Farm radio show, tune in here @ 9pm.

Monday, 12 September 2011

Forward Strategy Group Interview & Mix

It's just under 4 weeks until Forward Strategy Group are back in Glasgow, so we got in touch to ask the UK techno duo some questions and to see if they could provide us a mix.

For those who don't already know, FSG consists of Smear & Patrick Walker aka Isodyne and they have been releasing music under the FSG banner since 2007. Their records are popular with DJs like Regis, Surgeon, Marcel Dettmann & Norman Nodge and anyone who has an interest in labels such as Downwards, Blueprint or Ostgut should definitely check these guys out.

Anyway, here's what they had to say..

It's been a few years since Smear moved to Leeds, what made you leave Glasgow and how did this impact on your music and FSG?

Smear : I played Detatched for the first time about 2 years ago, then later that week we played our first FSG set to an empty room elsewhere in Leeds. The first FSG gigs usually ended in one of us kidnapping someone for the rest of the weekend, in my case in Leeds it was my future fiancée, in Glasgow Patrick kidnapped the promoter(male).

Hard to say what the impact in moving to Leeds was, it’s been great living in the same city as Detatched, having a place where everyone knows everyone else where you can hear great music all night. The main impact is that I had no speakers for the first year. Our last EP for Perc Trax was mixed and pre-mastered entirely on broken headphones.

How do you work around the obvious difficulties of living in separate cities, and what sort of effect does this have on producing music as FSG and preparing for gigs?

Smear : It's a problem that's been there from the beginning, but the internet provides lots of ways around it. When I lived in Glasgow we'd spend about one weekend a month just jamming and exchanging loops, and in between we'd spend every day exchanging things online. That was a really crucial thing for us I think, spending such a long time throwing ideas around without thinking about an end product. It's helped us lay a pretty strong foundation for how we approach our music, and we're now comfortable working as equals on a track, or just one of us making something and the other saying 'yeah, that's good, let's use that'.

The UK is famous for it's role in dance music, especially in techno, but recently the scene in Glasgow has faded whilst the popularity of commercial,tech-house Ibiza parties continues to increase. Is this something that is reflected in Leeds & Edinburgh? and how do you feel about the scene in your respective cities?

Smear : To be honest I've not been to many techno nights in Glasgow! I went out more in Edinburgh purely because I had mates there that didn't travel through much. I know with Monox ending and Optimo rebranding itself there's probably a bit of a lull there, but it happens every few years everywhere. Leeds seems to be on the rise at the moment, there's quite a few new venues and nights who get some really good acts over. All 3 cities are luckier than most in that they have a bit of history, they've always had good record shops, good producers etc, so if there is a bit of a cultural dip, it won't last long.

Walker : Edinburgh has an up and down scene, we have had some landmark nights like Sativa, Pure, Scratch and Tribal Funktion and when those ended, other things have popped up to keep things ticking over albeit not reaching such infamy. We visit a lot of different cities and there seems to be quite a buzz on with a lot of exciting music happening most places we've been, I've really not noticed the mainstream for a long time, so couldn't tell you if it was any better / worse.

Your first releases were on netlabels, such as avionix, do you think this is an ideal starting point for a new producer? and what benefits does releasing on a netlabel have as opposed to a digital label with a low profile?

Smear : A lot of digital labels sell zero units, and that's for various reasons coupled with he fact you're charging money, whereas a badly run netlabel should still be able to clock up a few hundred free downloads. Avionix hasn't had a website or any publicity for years and on alone it's still clocking up 100 downloads per week, and it's had nearly 100,000 altogether. That's the main difference for a new producer, a well organised free label gets you out and about immediately, in its own space. Your music isn't buried under thousands of other releases on an mp3 store, doomed to be completely ignored. There's also a kind of stigma attached to the words 'Out Now on Beatport!', it always makes me think of bursts of white noise and over-compression. Free labels tend to have a lot more character than that, because they're not trying to make money.

Walker : The netlabel thing kicked off right when people were beginning to see a slide in vinyl sales and more DJs playing digitally. There was a bit of a stigma from people who might have preferred things to stay on vinyl and I can remember a certain hostility towards netlabels for a while. I think now that people have accepted digital more fully, it's a good time for people to experiment with netlabels, it certainly is a good breeding ground for collaboration and feeding in new ideas.

It has been 4 years since the release of FSG01, and since then your releases have mainly featured on other labels, most notably 'Perc Trax', was this the route that you had wanted to go down? What do you see as the main benefits of being associated with a label like Perc Trax, as opposed to doing it on your own?

Smear : Not initially, no. I always figured we'd just release on our own label, but Ali asked us for a remix and it felt right, and now we're very much part of the label which is great. It's obviously a bigger label than ours but we'd never have worked this closely with a label we didn't feel an affinity with, and didn't allow us to take a few risks. I really like the ethos of Perc Trax, it doesn't adhere to a narrow section of music. The focus is more on bringing togeher a group of very distinctive individuals, which is much more flattering to the artists. It's less like Postcard Records and more like Rough Trade, other techno labels tend to be the other way round.

Walker : Releasing on other labels is definately less hassle and things seem to have worked out well so far. Though running our own label is very rewarding and allows us to translate our full vision including the presentation / artwork it can get in the way of spending time in the studio and working on fresh material.

Do you have any plans to release on FSG again? And do you have any interest in releasing the work of other artists?

Smear : Definitely. It's partly getting together the money to do it, but working regularly with Perc Trax means that FSG 003 would have to be something that wouldn't work on Perc. That was always the thinking with the label, to release material that doesn't belong anywhere else. It's difficult though because Ali lets us get away with quite a lot. I don't think anyone else would have touched Tayo Olowu for instance, but we had no fear in giving it to Ali.

On the whole we tend not to think about releasing other artists. Occasionally we have an idea to release someone else but it passes. When it's a smaller label that doesn't release often there's not really the room for other people, you'd much rather release yourself.

Walker : As soon as it's viable to do another FSG release on our own label, I'm sure we will do it. And as for other artists - I keep an open mind, if there's artists that can widen our horizons in a mindblowing way, sure, if not, we'll keep doing it between ourselves.

One thing that strikes me about many of your tracks is how powerful they are, similar to artists like Ancient Methods or Surgeon, can you give us an insight into your production process? What equipment do you use, do you have any preference with Hardware or Software and what are the most essential parts of your studio?

Smear : I use all software, and occasionally the microphone of my cheap mp3 player. I've been glued to a computer from the age of 6 so I don't miss the whole hands on thing. It's all very very basic software too, the fanciest thing I use is a fequency shifter. The sound comes simply from processing and re-processing sounds. It's pretty labour intensive at times, but I've been working like that for about 15 years. Back when I made hardcore and industrial music, it was mainly EQ, pushing it to hundreds of dB in frequency ranges that aren't present in a sound makes for some pretty interesting results. For me EQ's definitely the most powerful creative tool there is.

Walker : The most important thing for me has always been a sampler and a basic sequencer. I started with a yamaha SU-700 and ended up running a range hardware samplers including the A5000 which was one of my favourites. I still fire it up and program loops using a QY700, there's nothing like hardware for noisy, loose arrangements with a bit of punch. Nowadays I use a combination of pro-tools, ableton, soundforge and a couple of different Korg synths, I have a huge library of recorded and synthesised sound and it's the backbone of everything I do. I think that helps give our sound a bit of roughness and with Smear's attention to detail when it comes to EQ means we have quite a rough but pronounced sound.

Retail & Leisure 01 is one of my favourite records from the FSG camp, but I believe that this was also one of your least successful. Have you had a chance to reflect on this release, and is there anything you have learned or would do differently? Taking that into consideration, is there a future for R&L?

Smear : It's actally one of my favourites as well, so I've learned that if I like it, it won't sell! Nah, I've just figured out recently from experience playing that record out why it didn't do well. FSG records tend to be pretty versatile, as long as it loosely fits rhythmically and tonally with the rest of the set then it'll work pretty well. With R&L 01 you really need to establish a mood in your track choice leading up to it, and very carefully build out of it. It's a bit of a specialist record.

I'll probably dip into R&L in the future, in fact our new EP has an R&L remix which is much more friendly without straying too far from the first EP, so lessons have definitely been learned.

Patrick previously collaborated with Inigo Kennedy, how did this come about? Are collaborations something that you would like to do as FSG? Are there any artists that you would particularly like to work with?

Walker : I've known Inigo for a while and I've followed his music since his releases on missile / fear of music and Zet. We've been trying out ideas for a while and hopefuly we'll have some more of the material out soon. As far as artists I'd like to work with - Orphx, Surgeon, Kit Clayton, Silent Servant and Moritz Von Oswald.

What's next for FSG and/or your solo projects?

Smear : Mainly we're concentrating on finishing our album off for Perc Trax. We're pretty much finished with most of the tracks, it's just mixing down and assembling we're doing now. We've also done a remix for Donor, more info on where and when coming soon. And hopefully this year our remix for Miller & Boex on Labrynth should surface. It's the only track we've ever made in the same room, and probably the best thing we've done so far..

Walker : We have also been working on some projects for TVO's Broken20 imprint, and have a few other bits in mind for various labels. Once we've got this album out, all will hopefully be revealed ;)

It's now 3 years since you last played in Glasgow, at the time you played live on 2 laptops, how has your set evolved since then? what is involved in a FSG set? You recently recorded a CLR podcast which contained all of your own material, was this just to showcase your music or do you prefer to restrict FSG sets to your own original material?

Walker : Our setup hasn't changed that much, it works best for what we do and trying to add a lot of hardware would largely be cosmetic and difficult to transport. We've added in extra controllers, such as Novation's Launchpad, which works very well for triggering macros, loops and sounds, so thats jazzed things up a little. Other than that we now use audio interfaces with nice analogue to digital conversion meaning that the sound is a little bit more defined.

Smear : Initially we were very ambitious with live sets. They were about 80% improvised from loops, building tracks from scratch. It was a bit hit and miss until the Glasgow gig, that's where it really started to come together. Since then it's actually become a bit simpler, and it's more of a DJ set. There's a lot of edits, improvising and some live FSG stuff going on, and there's still an element of unpredictability since we can't rehearse much together, but we're much more comfortable now, we've got a good balance between straight DJing and a complete live performance.

Can you tell us a bit about the process behind the mix you have recorded for us, and what we can expect from you in October?

Smear : Patrick recorded the set, I contributed tracks and recorded a bunch of mini-sets about 8 minutes long for him to play around with. It's pretty representative of the kind of thing we'll be doing in October.

Walker : The set was made up from segments Smear sent over, I mixed it down as a live session in a studio up in Edinburgh using a nice digital rig including SSL emulation on each channel. I picked out some extras and jammed them around the pre-prepared segments and yeah, it's pretty representative of our combined sound. This mix is quite diverse and I expect in October I'm guessing there might be a bit more of our own material.

Check out the mix HERE

RA event
Facebook event

Wednesday, 31 August 2011

Regis Live @ Sub Club

This is a recording of Regis at the Sub Club in July 2011, massive thanks to Animal Farm for this one.


Part 1
Part 2

Tuesday, 30 August 2011

Some Thoughts On 'Clubbing In.. Glasgow'

It's not often Glasgow gets featured on an international music site, but when it does, it's usually the Sub Club, Numbers, Pressure or Soma that's making the news.. It's interesting then, that the recent feature on Resident Advisor has nothing more of a passing reference to them, much to readers dismay, although, the same can be said for most of the nights in Glasgow, as almost all of them got a shoutout at the least, and a sentence at the most.. Except from the Artschool, a club that didn't really appeal to me, and although it had a diverse selection of nights and a varied crowd, it isn't deserving of the praise it's receiving here.

It wasn't changing the face of clubbing in Glasgow, it didn't put Glasgow on the map, and it wasn't on everyone's go to list. It did host many excellent parties, and a lot of the worlds most popular DJs have played here - but the importance placed on the Art School is misleading at best, for someone who isn't from Glasgow. It was an opportunity to put more deserving nights and clubs in the spotlight, that was squandered due to the writers personal taste.

Many people have complained about the lack of a mention for various nights, clubs or labels, but I genuinely think it's refreshing to read something on Glasgow that isn't dominated by Sub Club, Pressure or Soma (Numbers too now). There's no doubting their importance, and the fact that they have been going for so long is only testiment to their love and dedication to what they do, but there's more to Glasgow than them and that is this article's greatest failing. It made a statement by only briefly mentioning big nights like Pressure and leaving out the likes of subculture completely, but it didnt do nearly enough to justify that.

I doubt their was ever anything malicious about nights not being included, you could argue that too many nights have been mentioned, but I don't think that any night has a divine right to be included in a piece like this - so it's a bit of a shame that the comments section on RA is littered with people who are criticising for one reason or another, if you draw comparisons from another 'Clubbing In' feature then the difference is remarkable for a 'friendly & forward thinking scene'

I do however, find it interesting that the writer barely mentions anything techno related, which I think draws an interesting parallel with the lack of good techno nights that are on in Glasgow on a regularly basis.. Certainly in comparison to the overwhelming amount of nights that feature beatport house & minimal artists, or the weekly nights at subclub (that feature no dedicated techno night). There's Animal Farm at the subclub every so often and CODE now at La Cheetah on a bi-monthly basis.. it's not much, and it puts doubts into my mind about the artists that we would like to book.. Is there still a techno scene here?

I hope there is because Glasgow, for me, is techno.. and it's sad that the city has a feature on RA, with Techno nowhere to be seen.

Wax Works & Equalised @ The Old Hairdressers 10th Sept

This September sees the return of our all day party, and after months of searching for a suitable venue we're hoping that we have finally found one. (lets hope we can make it a bit more regular)
The space is located in the upstairs of The Old Hairdressers on Renfield Lane [opposite Stereo] and we will be setting up the 1210's and hoping to fill it with good folk who like good tunes.

It's kicking off at 12pm and will go on until 12am, so if you're looking for somewhere to keep going from the night before, get a few drinks before the Electric Frog or simply party all day with us.. then there's probably not going to be a better option.
Guests Steven Coyle & Russell Ventilla will be playing, as well as regulars Wax Works, Bobby Wilson & a Live Set from Truman Data - so expect the best house/techno/downtempo records we've got.

Set times will be something like

Wax Works 12.30pm - 3.30pm
Bobby Wilson 3.30pm - 6pm
Truman Data (LIVE) 6pm - 7pm
Russel Ventilla 7pm - 8.30pm
Steven Coyle 8.30pm - 10pm
Wax Works 10pm - 12pm

We'll have copies of the exclusive new Wax Works mix from Forward Strategy Group to hand out, and we'll also have some discounted tickets for their gig on the 7th October for sale.

See you there.

Wednesday, 17 August 2011

CLR Mixes

Here's downloads for the CLR mixes from both of our next guests - Forward Strategy Group & Sigha. They play in Glasgow @ Wax Works on the 7th October(FSG) & 2nd December(Sigha).
The mix from FSG features all of their own stuff and showcases their sound perfectly, whilst Sigha's mix is a perfect blend of contemporary techno.

Miller & Boex - Relevance (Forward Strategy Group Alt Remix) [Labrynth]
Forward Strategy Group - Applied Generics C [Forward Strategy Group]
Forward Strategy Group - Signal Path (Early Version) [Perc Trax]
Forward Strategy Group - Anti-Concern [Unreleased]
Forward Strategy Group - Applied Generics A Acapella [Forward Strategy Group]
Patrick Walker - Phase Linear [Dynamic Reflection]
Smear - Inert [Dynamic Reflection]
Forward Strategy Group - Use Your Delusion [Unreleased]
Adrian Ross - Forward Strategy Group Loop 14 [Unreleased]
(i)sodyne - Answer To No One [Broken20]
Adrian Ross - Forward Strategy Group Loop 13 [Unreleased]
Smear - Means Of The Now [Unreleased]
Forward Strategy Group - Signal Path (Smear Mix) [Unreleased]
Forward Strategy Group - Rundes Leder Part II [Unreleased]
Forward Strategy Group - Token Ring [Perc Trax]
Forward Strategy Group - Tayo Olowu [Perc Trax]
Forward Strategy Group - Arcnet [Perc Trax]
Patrick Walker - Alchemy [Unreleased]
Smear - Transect Acapella [Forward Strategy Group]

Download here

Surgeon - Whose Bad Hands Are These (Roly Vexd Remix) [Dynamic Tension]
Silent Servant - El Mar (Sverica Remix) [Symantica]
Skirt - Ikaros [Horizontal Ground]
Traversable Wormhole - Untitled [Traversable Wormhole - 06]
Marcel Fengler - Thwack (Mike Parker Remix) [Motevolver]
Mike Parker - Subterrainian Liquid [Prologue]
Lucy & Xhin - LX2 [CLR]
Sandwell District (Feed Foward Test Session Recorded Live In Berlin) [Sandwell District]
James Ruskin & Mark Broom - Hostage [Blueprint]
James Ruskin & Mark Broom - Pigeon [Beardman]
Pacific Blue - Industry Part 1 [Pacific Blue]
Traversable Wormhole - Exiting The Milky Way (Surgeon Remix) [CLR]
Samuli Kemppi - Heat Of 1000 Degrees [Perc Trax]
Mondo - Work Me Baby (Marcellus Version) [Deeply Rooted House]
Sigha - Untitled (A2) [Hotflush - HF029]
Shifted - Control [Motevolver]
Silent Servant - Untitled (A) [Sandwell District - SD17]
Ventress - Untitled (A2) [Avian - AVN002]

Download here

Friday, 29 July 2011

Do Not Resist...

Here's a new mix I highly recommend checking out, it's a recent recording of Milton Bradley's live set, and it features mostly unreleased tracks with a few parts that will be recognisable to fans. I think the set really shows off Milton's talents as a producer, and gives you an idea as to what he is all about. He is one of the most interesting and unique techno producers around, and he manages to maintain such a distinctive yet versatile style, without ever compromising his ideals. More people need to listen to this guy.

* Check out the interview too, inspirational words for anyone who struggles to balance the need for vinyl and wanting to produce music.

LWE - Interview & Mix

Nights out would be a lot better if more DJ's didn't resist the beat.

Friday, 15 July 2011


So techno is boring. Or atleast that's what I'm hearing..

mnmlssgs probably present the best or most indepth argument, and although I agree with a lot of what they say, it doesn't mean that techno is boring or bland or uninteresting.
They are right about many things, but I just don't reach the same conclusion as them. So this is my personal opinion on why some artists/djs/writers are a bit fed up with things..

I only buy vinyl, I only listen to vinyl and I have no interest in any digital releases - I couldn't care less if my favourite artists are now on bandcamp, or if they are giving their music away for free, I just don't see the point in having mp3s/wavs on my computer.
If you're digital and that works for you then that's cool, but I think by not exposing myself to every single release, and every piece of information, it helps to keep things fresh.

I buy most of my records from record shops like Rubadub, Clone or Hardwax, they represent high quality labels, and are famous for the quality of music that they stock and distribute. It's not exactly a struggle to find interesting, new music, and more often than not I find myself removing up to 20 or so records from my crate due to financial limitations.
How can techno be boring, when there's more good music than most people can afford being released?

I'm not saying that being a digital DJ or artist is causing the problem, but the exposure to higher volumes of music, in a market that is oversaturated by similar sounding tracks, makes it harder to find the quality. The amount of new releases in somewhere like Hardwax just doesn't compare to Beatport, so looking for good music quickly becomes a chore and something that isn't enjoyable..
I can't imagine how many new releases there must be on Beatport in 1 month, how is it possible to listen to them and to find stuff that you like, without going back to tried and tested labels or artists? How do you find new artists?
Do you rely on charts/top 10s? Just the thought of looking for good new music on Beatport is enough to put me off techno.

Then there is also the dangers of promo, where people are receiving hundreds of tracks each week via email. There is absolutely no quality control over the releases you receive, and you have to spend you're time downloading them and perhaps reading the PR bullshit that comes with it - then skipping through them all until you find 1 or 2 that you actually like. Of course techno is going to be boring if that's what it involves, how can anyone go through that process on a regular basis and maintain enthusiasm for it.

My solution is to stop wasting time with all the digital promos, the ridiculous PR, and the absolutely worthless comments from DJs A,B & C saying how great the record is. Stop looking for music in the wrong places, get back to record shops, and pay £8/£10 for an EP.
How many mp3's do you own that you would pay £8 for? Or How many do you own that you would have never paid £8 for?
People need to learn to take criticism or simply avoid complaining about it publicly. Too many times you see arguments on RA about what rating a record got - who gives a fuck? Atleast it's getting reviewed.
The embarrassing fanboys on RA are another post entirely, but I think there's a lot of people who are *into* electronic music that could do with growing up a bit and learn to take things with a pinch of salt.

And lastly, support your scene, get involved, run a night, run a label and go to parties. Make things happen.

Techno/electronic music is to be enjoyed - by all means take it serious, and be hardcore/purist/whatever, but enjoy it.

Thursday, 14 July 2011

Black Country

Moving on from Cloutier, July is all about 1 man, Regis. Tomorrow night he will be back in the subclub, after last years performance, but this time he will be playing as Regis. With Regis you can expect uncompromising, purest techno - which, since Monox has stopped, has been way overdue in the subclub.

It's such a shame that nights like tomorrow are not the norm for the subclub, and that the majority of the time we are offered watered down house, or irrelevant has beens. It's out of touch, and it gets by based on the appeal of the club, it's repuation and the lack of any worthwhile competition.. It doesn't lead the way with forward thinking bookings like it could or should.

It's the best club in Scotland, but it could do so much more. It is so far behind the behind the leading clubs like Fabric, Trouw, Berghain and even now to an extent with places like Corsica Studios, with their adventurous line ups and up to date booking policy. I only hope that artists like Regis, Lucy & Shifted become a bit more regular, and that the DJs and artists who are leading the way in Techno and House start to frequent Glasgow a bit more often. Techno & House have a wealth of talent that just isn't respresented in Glasgow, and there's no better place for them than the subclub.

If you don't have plans for tomorrow and if you are even slightly interested in techno, then you must go to the subclub. If someone like Regis can't get a good turnout, then I'm afraid we are doomed.

And if you're up for it, Regis is back in the UK on Sat 30th July @ Fabric. We are getting a 20hour round bus trip, with the mega bus.. Which will be pretty tough going, but you can't argue when it only costs £16.

Room 2 features Terry Francis, Sandwell District & Sigha. I honestly cannot wait for it.

"Club or Country? Black Country"

Monday, 4 July 2011

What Went Wrong?

First off - sorry for the lack of info here and the delay in posting it, but we wanted to be sure that the information we had was correct.

Secondly, we sincerely apologise to anyone who was looking forward to seeing Eric, and had made plans to go and see him. We were completely gutted about what happened, but it was outwith our control.

As for the reason as to why Eric didn't play - it turns out that Eric got himself a visa for his tour, which he believed covered him for the duration of his time in Europe, but it actually only lasted 3 days. So when he arrived in Glasgow, he was detained by customs, and as the visa was not valid he was held in solitary confinement and deported the next morning.

There was nothing that we could do about it, and we didn't get a chance to contact Eric to find out exactly what happened until he was back in Berlin.

I want to say thanks to everyone who still came down, and by all accounts seemed to have a good night - we really appreciated it.

Also thanks to Animal Farm for having us down to Substanz, it was a pleasure to be playing there again, and was a great end to what had been a pretty stressful day & night.

As for what's next - we have Forward Strategy Group booked for 7th October & Sigha for 2nd December.. thankfully they're from the UK.

Friday, 27 May 2011

Wax Works & Equalised Present.. Eric Cloutier

In 2006 Eric Cloutier decided to leave Detroit for pastures new, but I doubt that even he would have imagined that within the next 5 years he would become resident at New York’s most important techno club, a mnmlssgs favourite and one of the fortunate few people who gets to play records across the world.

We caught up with Eric to find out how things are going in New York, how his production is coming along, why he has decided to withhold tracklists and what he has planned for his European Tour, which sees him play Glasgow on July 1st.

Firstly why did you decide to leave Detroit? And what made you move to New York, at a time when many of your peers had already made or were making the move to Europe instead, is this something that you considered?

The thought of moving out of Detroit was in my head for quite a while, as I'd always been fascinated with NYC, and eventually living in Europe, so that was one factor. A second was just that musically, in Detroit, I had kind of hit a plateau, and in order for me to take the next steps with my career in music, I needed to get out of there and get some new insight on to myself and the scenes abroad. Though most of my friends were moving to Europe, I never really saw iHt as a viable option that early on, and was fine with staying stateside for a while longer to build more of a name for myself.

The attraction of living in a city that never sleeps is obvious, but how is the electronic music scene there at the moment? And what role has Bunker played in this?

The scene in NYC is really great. There's a fascinatingly diverse group of people that not only attend but throw events, and there's never really a weekend that there isn't at least one thing to go to, regardless of what style of music you're in to. The Bunker definitely has a huge impact on the city, as we're one of the only parties around doing the kind of techno and house that we do. Most others are a bit more mainstream where as we're catering to the true heads and presenting new music and artists all the time.

New York has a rich history of great techno DJs from natives like Adam X and Function to Jeff Mills’ residency at Limelight, are there any producers/DJs we should keep an eye out for?

Fred P and DJ Qu aren't new names to the scene, but they should always be on the watch by people. They're constantly creating and DJing insanely good music, so if you see their name on anything, you can almost assure quality will be the standard.

Bunker recently celebrated it’s 8th Birthday with special 8 hour sets from Donato Dozzy, Optimo & Derek Plaislaiko, how was the party? And do you have any personal highlights from the 5 years of which you have been a part of Bunker?

The anniversary party was, without a doubt, absolutely amazing. I can't speak for how Optimo did because i spent the entire night in the back room listening to Dozzy, but from all reports, both rooms were completely rammed the entire time, with nothing but quality music pumping through the speakers for all eight hours. My highlights of the Bunker are too numerous to mention. Every party is a great one, every guest DJ is a joy to hang around, and every chance I get to play as a resident is completely amazing to me. Its just one of the places I feel damn good at, month after month.

Donato spent a few weeks in America after the party, playing a couple more gigs alongside you and Spinoza, did you have an opportunity to get some advice or tips from him in the studio? How is your production coming a long? What software/hardware are you using in the studio? And when can we expect to hear something from you?

Wasn't able to pick Dozzy's brain much while he was here, but we do talk on the regular and he's always giving me a pointer here and there. My production's, however, aren't going as well as I'd like them to, but that's all part of the learning curve that I've mistakenly taken too long to jump in to. I'm mainly using Ableton as a scratch pad to get ideas out quickly, and then I eventually bring things in to Logic to warm them up a bit and lay things out with their far superior sound engine. As for when I'll have something done...who knows. I'd like to get an EP out this year, maybe a remix of someone, but I'm having a hard time getting the proper amount of time to sit in the studio and work.

Many of your friends started producing years ago, is this something that you wish you had been more active about or does it provide you with some extra satisfaction that you are one of the very few modern DJs who has made his name as a DJ?

If I could have another chance, or go back in time, I'd have started much sooner than I have now. I really wish I'd have made something and been constantly working on things for years, because I know that would help me a lot with where my career is heading. But its also nice knowing some of the amazing gigs that I've obtained have come solely from my DJing and nothing more. That's a feat not many people can accomplish these days. Its a small group of people that are in that group.

Your European tour starts in a couple of months, which sees you visiting Glasgow on the 1st July – where else are you playing? And do you have anything planned besides your gigs?

There's a whole slew of dates that I'll be doing, including the Toi.Toi 1yr Anniversary in London, playing at Cookies in Berlin with John Osborn, and playing an awesome open-air party in Paris for my good friend Celine called Sundae...but more dates are being added all the time, and I'm hoping I have an exceptionally full schedule for the three weeks that I'll be overseas.

You also return to Japan this year, playing alongside Peter Van Hoesen in May, is there any chance you will be making another appearance at Labyrinth in September? Can you describe your experience of the festival, and what was it like to play in such a unique environment?

No word on a return booking to the Labyrinth festival itself, but I just returned from my trip to Tokyo to play "Enter the Labyrinth," also thrown by Mindgames, as a pre-party for the festival. Without getting in to too many details, the gig itself was an absolute blast, and the entire night was filled with incredible music. Peter and I had an absolute blast, and I must thank both him and Russ from Mindgames for the chance to make it to Japan again. But regarding the festival...all I can say is its the best party I've ever been to in my life, filled with some of the greatest people I've ever met, which created some very long lasting, very strong relationships with many people, and I would absolutely love to do it over again - both as an artist and as an attendee.

mnmlssgs are huge fans of Labyrinth, and are also keen admirers of yours (Eric is one of the few DJs to provide 2 ssgs mixes), can you tell us how your ssg mix came about and if you have a personal favourite from the mix series?

Chris from ssg's had heard a few of my podcasts, and I was a pretty frequent commenter on the blog, and eventually we struck up a good friendship and he asked me to do a mix for them. It took me a while, as I wanted to present something really special to them, but once I did, myself and others were extremely happy with the results. The second one came about after I played at Labyrinth in 2009, and it was really meant to just be a continuation of the festival in some ways, highlighting some tracks heard while there as well as from what I learned being a part of Labyrinth. Too hard to pick a favourite, though - almost all the mixes are so solid you can't narrow down to one.

You mentioned recently that you are no longer providing tracklists for your mixes, is this something that you have been considering for a while and why have you made this decision?

I've always tossed about the idea of not including tracklists, but for the longest time I always did because it really helps people decide whether or not to download the mix. Everyone scans the tracklist, and if it seems interesting, everyone downloads it. That being said, though, I'm also a bigger fan of people just taking a chance - quit checking the tracklist, and just expand your mind for once, without having some pretense as to what the podcast may or may not sound like based on the song selection. I've been spending even more time hunting down quality music and spending hours a day on the hunt for new tunes that I don't want them to be easily picked up by sniping poseur DJ's and kids who just want to undercut me and what I've worked so hard to achieve.

Your most recent mix was a vinyl only, dub techno mix, why did you choose to record this strictly on vinyl? And is this something that is being reflected in your DJ’ing at the moment?

I chose to do it strictly on vinyl because most of the tracks that were used in that mix are vinyl only and impossible to find on digital. I don't see the point in encoding a record to play with Traktor Scratch when i have the physical vinyl in my hand, so I wanted to prove a point that not everything needs to be on Beatport's Top 10 to be good. But I've also been using more and more vinyl in my sets because the overwhelming amount of pathetic and mediocre music that comes in to my inbox was just becoming frustrating and tiresome. I'd rather ensure I'm buying and performing with the best music I can find, so eliminating one of the repeat offenders - shitty promos and underproduced / overthought techno and house - isn't clouding my judgement or taste.

Many DJs have been extremely open about their dislike for digital DJ’ing, as a DJ who utilises both vinyl & digital, what stops you from being exclusively digital?

Well this is not only a tired argument, but its also open to interpretation by all. "Digital DJing" to me is using Ableton or Traktor to autosync things, not using an encoded vinyl solution like Traktor Scratch or Serato, so firstly I have to address that separation. That being said, I don't really see the point in having the argument - if you're playing a set that makes me move, then you're doing something right. I don't really care how you go about it, playing good tracks in an intelligent manner is far more important than the avenue you take when presenting it. I've heard DJ's that can't beatmatch to save their lives play some of the most amazing records I've never heard, and that will be more important to me, every time, than if you can be rock solid behind the decks and play terrible music for ten hours. I'll never stop using vinyl in my sets, and I always like to surprise people now and then with a vinyl only situation, so it really depends on my mood. Very rarely do I ever perform with only my laptop...probably closer to never.

Can you tell us a bit about the mix you have recorded for us, what we can expect from you on the 1st? and what your plans are for the future?

Not really much to say about the mix - I'll let it do the talking. Its typical of me, though - deeper, slower, slightly darker, a little dubby, with a dash of house on the side - so it should fairly accurately represent at least one portion of the night when I play there on July 1st. Since I'll be doing the entire evening again, from start to finish, you can expect this to be a warmup to my warmup. As for my future - make a damn record!

It’s unlikely, but if we ever get the opportunity to visit New York, where’s the best place to get some Pizza?

Ahh, the standard "I'm visiting NYC..." question. Its impossible to answer who has the best pizza because there's so many pizza places. But if I had to shoot for two in my neighborhood, Roberta's and Grandma Rose's are pretty hard to top.

Check out the mix from Eric HERE

RA Event & Tickets

Massive thanks to Eric for thi and I hope you all enjoy the mix.

See you on the 1st.

Monday, 16 May 2011

Native Rhythm Electric

Less than a week to go until Norman Nodge plays the sub club for Animal Farm, so I thought I would share my favourite Nodge mix with you to get you in the mood.

You will have probably heard it as it's mix 02 from the legendary mnml ssg series, but if you haven't then you're in for a treat!

I think this is the best representation of what Nodge is all about - grooving, purist techno expertly mixed. The mix is 3 years old but it still sounds just as good now as it did then, which is testament to his taste and ability.

Get it HERE.

And if you still need convincing, here's the tracklist:

01) Ron Trent / Dark Room / Balance
02) DJ Joey Anderson /Thee Analysis/Strength Music
03) Peter Van Hoesen /Trusted (Norman Nodge Reconstruction) / T2X
04) Add Noise/ Handwerk 3 A/ Handwerk
05) Baby Ford & I-Fach Collective/Tea Party/Klang
06) Shamus Coghlan/5000 Miles/ 807 Rec.
07) Sian/Wear Your Scars Like Medals / Aus Rec.
08) Robert Görl & Karl O'Connor/The Right Side Of Reason/DN
09) Reeko/The Gravedigger And His Bitch /Mental Disorder
10) Equalized/ Equalized # 1/ Equalized
11) Corrugated Tunnel / My Machine Code/Nightvision
12) Pacou/ Tangent / Cache
13) Marcel Fengler / Friction / Ostgut
14) Jeff Mills / In The Bush / Axis
15) The Mole / Baby You're The One / Wagon Repair
16) Superlova / All Night / Raw Elements
17) Punisher & John Overfriend /Thermal Underwear (John Selway Remix) / Hej Rec.
18) Leonid / Mora / Statik

Enjoy & see you Friday!

Tuesday, 10 May 2011

May I recommend?

Okay, not posted up some records in a little while so here's a few that I have been playing recently, a couple that are just out and 2 that you may have to go to Discogs for.

Mike Parker: Geophone 16

Unique, warehouse techno - a new Mike Parker record means a new essential purchase, this time we're treated to 4 tracks which will seriously mess with people's heads in the club. My pick of the bunch is probably B2 , it's not for the faint hearted but it will sound unreal on a good system. This is going to be in the bag for a long, long time.

Also, I think it's worth mentioning Mike's amazing artwork which is all done by him. Talented guy.

Analogue Solutions: Analogue Solutions 1

Sample heavy house & techno that just rocks on a good system, there's something for every set in the Analogue Solutions series and if you can, I suggest getting all 6 of them - my choice has to be 001 from the records so far, 3 absolutely killer tracks that will go down well anywhere - one of the highlights of the Electric Frog was Ben Klock dropping this.

Donato Dozzy: Acid Test 03

This didn't get the thumbs up over at LWE, but I really can't see where Richard Brophy is coming from when it comes to Dozzy. His Album 'K' was one of the best records last year, and tracks like 'Your Eyes' & 'Menta' are absolutely essential. Granted these are collabs, but I think you can definitely hear the influence Dozzy has had on the them.

As for Acid Test 03 it's a warm, relaxed acidic number that was made especially for Dozzy's set at Labyrinth, and on remix duties is Tinman in a role reversale from Acid Test 01 - The remix is my favourite track out on the EP, dark, trippy techno with a haunting vocal, if you were a fan of Acid Test 01, this will be right up your street.

Atom TM & Pink Elln: Live Volume 12 - 15.11.2009 Berlin Berghain

This is one of the best records in 2011 for me, over 20 minutes of analogue, hypnotic, acid-techno. A & B are both of the highest quality, don't miss this.

Get the B Side FREE - here. Rubadub did have this in stock, but it's not on the site.

The Secret Initiative II

Another white label, another anonymous producer, another fantastic EP.

I missed out on the first Secret Initiative, but on the strength of this release I will be purchasing that when I can. Both of these tracks are ambient/droning/spacey techno with a bit of melody that adds just enough light to the tracks, pick this one up if you can.

Relative 003

This isn't the most recent release from Relative, 4 & 5 are both out and I think you can still get them in most good record shops, but it's my favourite from this label so far.

It comes with 3 raw, analogue house bangers with 'Play Records' being my pick, it just destroys, it's a massive, massive tune.
I think this is one of the only tracks that has been played twice at one of our gigs

For those who don't know, Relative, Appointment, Restoration & Live Jam are all the same crew - and they are making some of the best house music around right now.
If you like your house to be a bit rough around the edges, then this is for you - all of the tracks are recorded on analogue gear, probably in 1 take.
These records just have so much more feeling and warmth than the majority of what is being released today, absolutely essential in my eyes.

* Don't wait around on these records because they are limited, vinyl only pressings and when they're gone you're looking at about £20 + for these on discogs

Also - I highly recommend checking out this mix from ISM if you're new to these guys

Sunday, 8 May 2011

The Verve(ine)

It's a rare surprise when a new Verveine mix goes online, but to get 2 in such a short space of time.. Well it just doesn't happen, or does it?

The first mix is a 5 hour set back to back with Julietta, it's a bit of a marathon in terms of listening at home - but if you're having a BBQ or some friends round for a few beers, this is all you need. 5 hours of the very best house music.

The 2nd mix is about a year old and it's as techno as I've heard Eli, but still stays true to what she is all about. It's refreshing to hear a mix from her that varies from what's been before, so many DJ's are great at one thing but struggle when they get out of their comfort zone, this is further proof that Eli can easily hold her own with the best.

If you're into these then I also suggest checking out her Kapterka radio show mix, it's top class.

I don't know what it is about Eli's mixes, I don't if it's just the records that she's playing, or the way it's recorded but her mixes just have this really warm, raw, vibe bordering on distorted, but not going far enough for it to become uncomfortable or detract from the music. Whatever it is, it's quality and I hope that more and more people start to realise it.

Friday, 6 May 2011

Be Deep

It's 1 week until Margaret Dygas takes over the decks in The Admiral for the evening, and if you have yet to make plans for what you are doing before it then look no further.. Dan Hedley[Hotbox] and I will be playing some records at the pre-party (9pm -12pm) in The Admiral, with fresh wax from Analogue Solutions, Relative & Luv Jam in the bag, you can be sure that the tunes will be of the highest calibre.

Here's a couple of my favourite mixes from MD, if you don't know what she's all about then download these and hit play.


* I also highly recommend her LWE mix

Thursday, 5 May 2011

Solomon Cain-ing It

In 2011 being a DJ is tough, there's only been a handful of DJs in recent times who have made the journey from resident to international star. 3 that are well on their way imo are Eli Verveine, Eric Cloutier & Jackmaster (if you know more then please share them) but they're a rare breed and still, if they really want to take their career up to the level of their peers, they need some records out. The DJs at Berghain/Pbar are probably the best example of this, a few years ago many of them had never made a record, now they are international artists with albums to their names - maybe it was a natural progression from DJ to artists, maybe they're just DJ's who want more gigs.. based on the standard of the albums, I would go with the latter.

It's a shame, but that's the way it is.. Promoters want something they can sell to people, and having a hit record or being attached to a reputable label is going to help considerably if you're wanting more gigs, and to ultimately make a living from music.

Personally, I don't think it should matter who you are, what label you're on or who you're friends with.. if you're music is good or you are a skilled selector, then your talent should be shared.
So here's a mix from the latest DJ I have stumbled upon, Andrew Solomon. He has 2 mixes on his page, but I think the stronger of the 2 is definitely the December mix. The November mix is good, but it's just straight up techno, where as the December mix has a bit more to it and is a better mix to get an idea of what Andrew is all about.

If you're a fan of Milton Bradley, Sandwell District, Prologue etc.. I highly recommend checking this guy out.