May 2010 Archives

It's not too often I stumble across a bump and squeak gem like this one. Todd Sines giving his nipple tweaking material a go-through is most welcome here.

It's been 3 years since the last Tunebox EP was released. Sigi had the sense then to include some Tobias Schmidt and Dave Tarrida. It would have been great to get some more Schmidt, but we've got something just as good: Subhead!

I've been waiting for this EP for literally years. This one beats even the latest TSR/Don't in terms of anticipation. I almost can't believe Ben persevered long enough to see this through, it must have been tough!

There is only one Ben Pest making music. That is unfortunate. His stuff is gold. He's had several EPs out on the labels we know and love and after years of work the second Panic Bridge is now out as well. More on that tomorrow though.

Ben has his own style. That's something which catches you off guard when it comes to music these days. At first glance it may seem all lumped in with the rest, but that feeling never lasts with his stuff. It is different on a level I'm not even comfortable discussing. So I leave it to you all to check out --if you haven't already in some way--- by listening to this 3 hour live set of his. It pretty much covers all of his material and is most excellent.

Ben Pest on Myspace

A little bit of hack research indicates you've been releasing stuff through Audio Textures for a decade now, starting with the Terry Mitchell record 'Flavas 1/4', and since then have done 10 releases by the extremely talented likes of Paul Langely, Robert Armani, K. Alexi Shelby, Lester Fitzpatrick, Paul Birken, and now Vadz. Have I got it all right?

"Yes, that's correct."

What's it been like working with these people?

"It's been great working with the artists from the label - over the years we have become good friends."

Now you have the Vadz release 'Panic Attack' out, as release #10 - how did you swing this EP and what do you feel makes it truly special?

"Myself and Vadz have been in contact for a few years, exchanging e-mails; we did hook up on a past project with Mark Hawkins that didn't surface on my label - he sent me the tracks prior to the 'Panic Attack' project. So I chose some tracks - which wasn't easy because the Vadz demos were of such high quality! - and thankfully I got there in the end and the release was signed and ready to go.

"The 'Panic Attack' EP is very different to me in its approach to techno... it's what I call a hybrid-style, fusing elements of other directions in Vadz's own style, which I think personally is refreshing because I've heard a lot of techno music of late that just goes by formula and doesn't push any boundaries in production."

How would you define the ideology behind Audio Textures, and how has this altered over the past 10 years - or is it still exactly the same?

"The ideology behind the label has always been an open minded and forward-thinking approach to techno or experimental music. The sound has changed over the years - where in the early releases we had a more straight up and gritty jacking techno sound and on into the more experimental side of techno, now we still dip into the odd straight-up techno banger as well as releasing bigger profile artists over the years; I've also focused on working with up-and-coming producers alongside the bigger names as well."

How did you first organize the label, and why?

"I first organized the label back in early 1999 while I was running my own small distribution service, KC Promotions. I was distributing all different styles of music including techno in the UK and had some good contacts with UK producers Terry Mitchell and Paul Langley, who sent me demos. I spent a lot of time researching the techno market and came to the conclusion that there weren't many labels representing the style of techno or Chicago-inspired sound I loved at that time.

"The next step for me was the name of the label, which didn't take too long - I looked through dictionaries and came up with 'audio' which I thought was a cool word for output as in music, and then 'textures' was a good name as in textures of music because I knew I might change styles in the future... so there you go. Myself and Terry Mitchell were in contact at that time and he gave me some tracks and I signed the 'Flavas 1/4' project. The rest was history. Also, because I had strong connections in Chicago, I signed up some of the hottest producers from there. I researched distribution companies too and hooked up with Tony Viera of Integrale Muzique and worked with those guys till I think 2005 or '06, then Harvey Lane at Veto, then digital with Oliver Way at EPM. Currently we're signed worldwide for digital with Label Worx."

Ten years on, how do you feel about the early stuff?

"The early releases for me were really cool - I had great support from Dave Clarke, DJ Rush, Jim Masters and Mark EG, which was great back then, but I feel now the label has moved on and matured in sound from that to more of an experimental sound."

What was your relationship with K. Alexi Shelby and the Rated-X imprint - and is this a possible continuing project?

"I hooked up with K. Alexi Shelby in 2002 while working at Integrale London office. Both of us had a passion for house and techno and decided between us to start up the label. I used to do the day-to-day running of the label, working with distributors, and K. Alexi was in the studio. We released about two projects and had plans in the pipeline to work with Robert Armani, Gene Hunt some other guys from Chicago and Dave Angel, but due to other commitments we shut
the label in 2003 and there are no plans to restart it for the future."


Where exactly were you both born, and what's it famous for?

"I was born in Brentwood in Essex, here in the UK. We have a school here called Brentwood School - it's famous for the likes of Gryth Rhys Jones and Cliff Richard attending having attended, and some other renowned names too; there is some lovely countryside here as well."

You've been interacting within the music industry for a long time now. What's most changed in the electronic/experimental music related music industry over that period?

"I think what's changed over that time period personally for me for is the obvious decline in vinyl sales worldwide and the closures of many distributors and record labels, and seeing the digital medium coming to the forefront of techno/experimental music."

What keeps you motivated?

"For me, keeping motivated is finding new talent, like producers. I do spend a lot of time on MySpace going through new profiles; it's very rewarding finding new talent. I also get sent loads of demos from producers and always give feedback or help point them in the right direction as I know it's a very frustrating process - and of course I love hearing new fresh music."

In the '90s guys like Cristian Vogel, Si Begg, Dave Tarrida, Subhead, Tube Jerk, Justin Berkovi and Tobias Schmidt were basically life's blood for me as a fan and DJ. What do you think of the "newer" guys coming through like Luke's Anger, Ben Pest, Mark Hawkins, JE:5, Marcin Markowski, Mike Holmes and Donk Boys?

"All those guys are really good producers making really refreshing beats - Mark Hawkins has always been one of my favourites from years back; his early Djax releases were really cool but his sound has definitely moved on now and he's producing interesting music."

Which current crop of local British artists and labels are grabbing your attention, and why so?

"I don't really follow many labels but the Blueprint label is a label I respect, and of course James Ruskin who to me is a very interesting, talented individual - his productions are very fresh sounding. Also the Downwards imprint... I'm a big fan of Surgeon, and Regis is always quality. Some other interesting artists from the UK that I like include Dez Williams and Darkmode, releasing quality electro, and Kev Willis is one to watch for 2010."

In what shape is the UK electronic music/techno scene at the moment?

"I think the shape of the techno/experimental scene is very good at the moment. Producer-wise it's great and there're some talented new people around, though I still think there are not enough proper techno nights. I no Detached and Atom Jam are cool and Fabric in London, but I would like to see more clubs geared towards techno as a whole."

What are your impressions of overseas artists and labels to look out for?

"I think there are so many good artist/labels out their overseas. I'm still into my Detroit stuff - Underground Resistance and DJ Bone's Subject Detroit label always impresses me so I'm always looking out for releases by these guys. Decibel Flekx from the US is another producer to watch out for, he's making some quality tracks on his label Assimilation. US-based AEOD aka Petey Nicoleson, is really turning out some interesting beats and also some good solid new producers from Europe like Martin Mueller."

Here's the mandatory inane question: If you were pressed into a corner and forced to confess under great duress, how would you define the sounds/styles of Audio Textures?

"I would define the sound of the label as experimental, positive, forward-thinking electronic music with an urban edge and a dash of funk."

What upcoming Audio Textures projects/collaborations/events we should know about for 2010?

"Loads of very exciting projects on digital forthcoming this year with an EP by Roman Zawodny, and Darkmode, Kev Willis, Martin Mueller, Lester Fitzpatrick, Donnell Knox, Decibel Flekx,remixes from Alan Barratt, and many more - and an interesting mini album from the US by AEOD, plus in the pipeline some limited edittion coloured vinyl runs to follow.

"Thanks to everybody supporting my label over the years, and shouts out to Lester Fitzpatrick, Robert Armani, DJ Feedback, Urban, AEOD, Decibel Flekx, DJ Hectic, Circuit Breaker, Roman Zawodny, Brian Dunn, Martin Mueller, Darkmode, Kev Willis, Mark EG, Paul Birken, Alan Barratt, Dez Williams, Terry Mitchell, Axel Sohns, Mark Hawkins, and Trevor Wilkes.

"And, of course, look out for Vadz's 'Panic Attack' EP which came out on May 21st at all digital outlets - please check www.myspace.com/audiotexturesrecordings for info on this and the future releases."

What's it been like working with these people?

"Some of the new guys from the label have been very good to work with, very punctual and methodical and very helpful in their approach."

How do you foresee techno & electronic music in general developing over the next 12 months?

"I think techno/experimental music will really prosper over the next twelve months. I'm hearing some really good techno from producers all over; I can also see minimal stuff gradually dying off very soon. Personally, for me, it's not very challenging music even though I do like some releases I hear. All I see on the digital sites is dominated by minimal so it would be cool to see more techno coming back in a big way."

Lastly - how do you like your mushrooms cooked?

"I like my mushrooms fried in a full English breakfast."

Here's another of Heiner AKA Psychomantix' fast and furious mixes. Full of the UK business that's been keeping it fresh the last several years and rocking it well.

Download

This week's Bleep wraps up Dave Shades' epic set that he sent in. As I mentioned last week I've not only included this week's archive link as usual, but I've included a link to the original 2+ hour set that has not been split so you can hear it in it's entirety if you so wish. Now all we can do is prepare for next week's Bleep, which is a 3 hour Ben Pest set that he sent over. Nice.

A f-f-fresh mix from Sheffield Bleep that's going to keep me bumping this morning.

The Wildstyle by Sheffield Bleep

I've been slowly, but surely accumulating sets from the party "Amplifi Q' that took place down in Brasil (I believe). I believe I may have even more coming.

Download Semiotic
Download Urbe

Paul Birkin's third EP on his digital label Slappy is a local (to Paul) offering. Josh Heckadecimal I've only heard limited offerings from in the past, but if he continues to create stuff like what he's done for this EP, there is definitely room for him in my box in the future.

Coin Operated steps up again wi the dancefloor ammo!! Kanji Kinetic drops a bomb of a vip mix, Spaceface steps up with bass heavy harcore rave breaks, Forshaw stinks the place out wi ard as nails electro booty and Sheffields new boy on the scene Mr.Sly crosses dubstep bass to jackin techno beats with devistating effect!!

The previous Coin Op / Forshaw is just hitting shops and this one is already lined up to drop. I like it when people move fast. Especially when that means a new Spaceface/Forshaw combo is about to be unleashed for the win!

Bit late this week as everything has been a bit too full on for me to do a set and also I was feeling a bit uninspired and felt I needed a break.. So Norman, who cut his teeth at the legendary Stammheim Club in Kassel, Germany sent over his set from the same party where I played a couple of months back.. There's no tracklist, just quality techno sounds, as ever, from Norman - you can find out more about Norman and his music here:

I've always been a fan of Norman. His sets or his production, I dont care which. both are ace in my books.

More info @ Crime

It's been a long time since this name appeared on Bleep Radio roll call. It was December of 2008 the last time Dave had a chance to send a mix in. I believe this mix is the first one recorded exclusively for Bleep however. In response to that I've taken the liberty of taking his epic 2+ hour set and breaking it in half to air on two separate dates (This week and next). That means the two separate archives will be available and next week I'll also make available the entire mix without it being broken up.

Dave Shades on Myspace

Regular readers of Fun in the Murky who bother to wade through my long-winded hack articles may have noticed a trend (aside from the same recurring questions) - namely that a lot of the time I'm also working with the interviewee on something for my label IF?, they may have just (charitably) done a remix for me, or I'm doing something myself for their label.

This isn't always the case, but as I say it is a trend, and I've even noticed this myself - god forbid.

The reason is simple. Because I'm in close contact with them working on the musical angle at the time, these people are finally vulnerable to me to hit up for an interview - and given that my other day job is hack journalism, and I only really want to work with people I (a) respect, (b) am hugely influenced by, or (c) I've become mates with and want to sing their praises, the interview/article thing seems appropriate. Luckily these people are usually too nice to say no, so they indulge me, and we end up with some interesting written fodder to browse through here.

Justin Berkovi was the latest such 'victim'.

I first stumbled across Justin's music when I picked up his Crouton vinyl on Mosquito, and it became a pivotal member of my DJ sets and my patchy radio show on 3PBS back in Melbourne just over a decade ago.

I've been a huge fan since, keeping an eye on his stylistic tangents as much as I've tried to follow up on his releases through other labels like Music Man, Force Inc., Sativae, Drought, Pro-Jex, Djax, Neue Heimat, Harthouse, and Berkovi's own Predicaments.

"I've never released anything for Tresor," he quips, "although for some reason everyone thinks I have!"

So when Simon Nielsen (aka DJ Hi-Shock from Elektrax) approached me late last year to suggest we release my Little Nobody track Metropolis How? as a vinyl release with remixes, I couldn't think of a better practitioner to suit the moment... along with, of course, two other another canny remixers in Hi-Shock and James Ruskin.

We actually released this wax at the beginning of this week (that's unsubtle hint #2, in case you're wondering).

So far as I'm concerned, biased and all, Justin's remix is revelatory - he picked apart the slow, grubby, vaguely distorted acid slant of the original track and made the journey his own entity; think a mesmerizing remix defined by little incidental noises and hisses, the occasional snare, and a subtle, slightly dark orchestral flourish.

"It's pretty laid back," Berkovi himself assesses. "I didn't want to do a slamming techno track for this one, just something a with some tech-house influences and more subtle than an out-and-out banger!"

So, as per my usual wont and as you can probably guess by now given the artist bytes (above) and the title to this story, I did something I'd wanted to do since the late 1990s - I finally interviewed Justin Berkovi.

The following is the simple Q&A; his answers are stand-alone gems.

I didn't want to bury them in more rambling text, as I figure you've copped more than your fair share of that in this introduction. Big thanks to Justin for his remix, his words of wisdom, his time - and his cracking sense of humour.

I've been into your stuff since the year dot, but a little bit of research indicates you've been producing your own stuff, first off with Mosquito or Sativae, since about 1997. Is this correct?

"I did my first tracks before this but my inaugural release was on Mosquito in 1997. My first ever track - I think! - was 'Tonight', which ended up released on Mutter a few years later in 2001."

The stuff on Force Inc. was quite mad; I loved it, of course. How do you feel about that early stuff now?

"The Force Inc. period was when I was first starting out so I loved doing these early EPs. I still like what I did back then, they were good times! The Force Inc. EPs gave me good exposure - one was an NME Dance Single of the week - and allowed me to produce my first album [Charm Hostel] quite early on."

What inspired you to set foot in the studio yourself?

"I was originally into old electro such as Mantronix, and then old school techno, Detroit stuff, early Djax-Up-Beats, and so on. I'd always wanted to produce music so it was just a question of trying to get more gear than an old drum machine I had knocking about. I was just desperate to produce music, whatever it was going to be."

Where exactly were you born, and what's it famous for?

"I was born in Watford. It's fairly famous for Watford Football Club, which was at one time chaired and funded by Elton John. However, in the main Watford is a total shit-hole and I avoid it at all costs. It's full of rich chavs who want to fight each other."

You've remixed Cristian Vogel, Subhead, Hardfloor, Digital Primate, DJ Rush, and now this Little Nobody track for me. How do you approach the rejigging process and how do you go about personalizing it with the Justin Berkovi stamp?

"Usually I'll just grab all the parts and then create my own track. If the track though has a unique thing for me such as a crazy bassline or just some element I really like then I'll work my mix around that. I don't have a set remix style and I'll often create two remixes, one harder one and one more introspective."

You've been producing music and interacting within the music industry for a long time now. What's most changed in the electronic/experimental music related music industry over that period?

"That's a big question! So much has changed. Years ago I think vinyl played a very important role in the industry - people had to wait for white labels or promos, a buzz was created, and then the entire process of selling or buying a 12" was played out over time. Now everything is so instant. You've got a zillion digital labels releasing all kinds of crap and sifting through everything is really time-consuming.

"It's just a completely different landscape now, not as rock and roll in some ways as before - I mean I'd never have predicted seeing techno DJs Twittering about what Wagyū beef they're eating or how many times they've been to fucking Nobu - hilarious!

"But techno goes round and round, in and out of fads - from the minimal explosion has come a general acceptance of a much broader style of techno, so whilst the narrow fads might piss people off they often lead to things evolving later. Which is a good thing!"

What else keeps you motivated?

"Good, clever music and sounds that blow me away. I've always been a sucker for producers that use innovative and unique sounds - I'll often hear something in a track, it could be some strings or an effect or anything, and that will inspire me. My motivation now comes from producing again - I'm about to release my first music in over four years, so am excited about this and just keep wanting to produce tracks."

What gear/software are you making most use of in the studio at the moment?

"I still have a few bits of hardware left, but mainly sample it. My main production tool is Logic and my live tool Ableton. I'd like to make the switch to producing only in Ableton but keep going back to Logic. I prefer the timing of Ableton; it reminds me of my old hardware sequencers I used to produce with."

Which part of your studio is the most vital facet?

"Hmm... tough one - I'd say some of my outboard because it's now taking the flatness out of computer music and warming up my sound, making it more like my older productions."

Which current crop of artists and labels are grabbing your attention?

"Too many to mention! I still follow all the old guys but like a lot of well-produced stuff by Gary Beck and newer artists from minimal and tech-house to techno. I don't really listen to one or two genres or artists - I just go by what I like when I hear it."

If you were pressed into a corner and forced to confess under great duress, how would you define the sounds/styles you're currently making?

"That's easy, really - I'm doing deeper stuff under my Nightrax thing, and tougher, darker techno."

What upcoming Justin Berkovi productions/collaborations/events we should know about for 2010?

"I'm putting together two mixes for some artist podcasts - they'll be a trip down old school techno memory lane, and then a special preview of my new live set. I've got a Nightrax-style EP coming out on Eevolute, the imprint run by Terrace and Estroe, I have a remix for Jurek Przezdziecki coming out on Germany's Whirlpoolsex Music, and I'm in the studio working on a series of EPs for different techno labels. I'm planning on releasing a lot of stuff in 2010 as well as starting touring again with my live set."

You've also run your own label Predicaments - is it finished by the way, or just taking a nap?

"Predicaments is finished. I loved running the label but because I did everything it was just too much work in the end - you need help with running a label! Saying that, I'm actually thinking of starting up Nightrax again for my deeper music."

You released Subhead, Dave Tarrida, Steve Glencross, DJ Rush, Adam X and Miss Kittin on Predicaments, along with records by yourself. What were the label's perimeters, and how did they change over time?

"To be honest the label didn't really have a 'style' as such; it was just good techno by people I liked and got on with."


What's it been like releasing through all the other cool labels you've worked with over the years?

"It's been great - you meet like-minded people who want to release your own music! All the labels are different and it meant a lot to me to release stuff on labels that I'd respected so much in the past."

CDs are a disappearing facet of the music industry, and a fair amount of people in electronic/dance music circles are cutting back on vinyl these days because they say it just doesn't make back the money invested. How do you feel about this?

"It's just the way it is. We could chat about the demise of vinyl till the cows come home - of course I feel it's a shame, I love vinyl! There is just nothing like it and I have to say that I miss seeing DJs use vinyl out... but times change. Vinyl can still be a wonderful way to add kudos to a release, though."

Either way, is digital download really the future of music?

"I guess so. I wonder how this will evolve, because there are so many 'digital labels' out there at the moment. Is giving everyone a chance to release music easily a good thing? Who knows! There's certainly less quality control than before!"

How do you foresee techno and electronic music in general developing over the next 12 months?

"Well, techno has just gone from strength to strength in the last few years - a big plus for me because it's made me return to producing and wanting to play out again. I think it's simply going to be a good year for techno and electronic music in general, there is some great music out there with real guts and soul."

Lastly - how do you like your mushrooms cooked?

"Well done with no water. Preferably as part of a great breakfast in Melbourne with a great coffee."

...care to add anything else?

"Just to say thanks for everyone who has supported me over the years and I can't wait to come back in 2010 with my new live set, releases, and immerse myself totally back into techno - bring it on!"

One of my favourite oddball sound creators is back with another EP. It's primarily the title track on this one that moves my ankles, but 33% of an EP is enough for me.

I bet when you woke up this morning you didn't figure on finding 97 minutes of Live Subhead action. All I expected when I awoke was the Eggs Benedict I promised myself the night before. So to find this bad boy sent over from Jason was a pleasant discovery.

Download

This week's Bleep Is Electro! The best part --in my eyes at least-- is that I didn't shake the Electro bug out of me with just this one set. I may need to dig up a bunch more and do another show. That will have to wait though...

Scott Donaldson who you may have downloaded mixes from who operates under the alias 'Dave Shades' has finally had a chance to record his long requested and waited for guest mix. It's a 2 part marathon that will begin airing next week and end up the week after. After the first show I'll post the archival link as usual, but the second week will also include the full 2 hour mix as one download as well.

More @ /www.lukesanger.com

Content wise it was a slow month. I'm really feeling two things lately

1. The lack of an abundance of new music coming out


2. ...and a lack of free time on a daily basis to post/record Bleeps

As I'm sure has been noticed, since I'm not able to do daily posts right now (due to both of the above reasons) I am trying to make up for it. I seem to be able to do a bit more on the weekends than I was able to before, but the Monday to Friday period is definitely painful to maintain right now. Bare with me, things will normalize. And soon I hope as this is my last week on Night Shift which I think is a huge part of the time thing.

Vadz on the Bleeps and Bass!

New kid on the block Felix Bernhardt has been firing up dancefloors all over for the past couple of years, and his latest creations made exclusively for Snork Enterprises are no exception. The young German has been attracting the attention of many of the international jet set Djs including Marco Bailey and Cristian Valera, and this latest offering is certain to go the same way!

I don't know if this guy being enjoyed by Bailey and Valera does anything to influence me (probably the opposite), but I do know that there are two pretty fun little swinging, jackin' bleepers on this ep.

or Check 'er out

My records are in a mess right now- so many mixes and a few gigs thrown in for good measure, and they are all over the place.. My Noodles, Subhead and Djax records are amazingly in order, no suprise given the previous mixes, but it's getting tough to find the right record at the right moment. So this mix was a bit unpredictable for me, which is why there are a few hairy moments and also some trax I don't play so often. Also featured here amongst other things, is the new record from Little Nobody Featuring Robo*Brazilera (I insist that you go to a shop and buy it now, before quality techno gets swallowed up because no-one is buying it!),
more...