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News: March 2009 Archives

It's partially Fun in the Murky's fault. Or, more in particular, Trevor Wilkes'.

I think it was this thread here that reminded me of my passion for Paul Birken and his Tonewrecker shenanigans, followed by this little surprise package.


Before I hit Tokyo in 2001, I'd somehow landed a copy of Paul Birken's Speaker Freakin' on Communique from about 1997, then his and Bob Brown's insanely brilliant Immediate Conclusions vinyl 3 years later through Brown's label Framework Music; neither record has parted company with my moth-eaten, beaten up, beer-stained record case.

Then (for me) came Wire Stutters in 2001, and Looking Out Blindly, on Highball in '04.

Then I got married in 2005 and had my daughter in November that year, so for a wee bit of time at least, I lost track of vinyl releases by people I dug.

Last year, after a long time rocking along to Bleep Radio and skimming through the reviews by Trevor right here, I got in touch and started liaising with Mr. Wilkes, and thereafter finally, somehow, got in contact with Paul Birken in late 2008 (something about one of his samples that he uploaded to this site, and I accidentally incorporated into a Little Nobody track), and found one of the most laid back, carefree, coolest, soon-to-be second-time dads I've ever met.

It should be no surprise, then, that I harangued him into remixing one of my tracks, Robota, which I cut with Toshiyuki Yasuda late last year. Paul's crazy, sublime, futurist-blues mix is set to be unleashed through Aussie label, Hypnotic Room, on 25 March.

Paul is also one of the most incredible, more fun, and hilarious interviewees I've had the pleasure to mess with over the past 15 years, so in transcribing this repartee, I decided to leave it in its purist Q+A form:

How did you get inspired to start making music?

"Teenage wasteland of realizing that being a one-man band was possible with my Commodore 64. This was in the mid '80s, and I was around 12 or 13 years old. I had to work a lot of jobs to save cash for gear. My parents were supportive in letting me work after school a bit to earn the gear on my own dollar. It would take me a long time to save up for pieces so after I got something, I would learn it inside and out. Some of the first things I had were a Roland TR-505, Roland MC-202, Roland MKS-100 (rack sampler version of the S-10), and a Yamaha DX-21 synth. It has just progressed over the years of trading things around and taking time to learn pieces and how it works with other gear. Hearing all the synth-pop bands and emerging industrial and hip-hop pallets of sounds kept that early interest fueled. While I'm crazy about live musicians playing and creating music, there is something about the very quantized sound of machine grooves that I can't get away from, nor do I want to."

You've been producing music and interacting within the music industry for a long time. What keeps you motivated, and what integral changes have you noticed over the years?

"It's never the same when you sit down with the machines. You know what they do, but the endless possibilities keep the fascination level high. I don't care about failing, or what 'might happen' if I try something, so there's a lot of strange routings and control signals and manipulation that get attempted. It is non-stop entertainment when you keep surprising yourself and saying 'What the hell is causing that to happen now?!'..."

Why the aliases like Tonewrecker and Paul Birken & The Dirty Party Snakes?

"I've mostly just used my own name, but occasionally tried to tie something to a project. I've never given it a lot of thought. I write so many different styles that I generally feel it should just represent me."

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

"Not even going to start listing things. I find something every day that makes me feel like I shouldn't even try to compete. I assume anyone reading this is more skilled than I am at making tunes. Actually, that is the case with most things I hear, so when I listen to things... it is a juggling act of experiencing it as a music fan, and then the critique of 'wow, that is crazy, or amazing... how did they do that?', and I try to figure out the process that put it together."

When I was browsing through your Twitter site last month, I noticed that you'd blogged on February 7th: "Nearly done with the remix for Andrez... never had so many changes of ideas in a remix before the final version. Crazy Muddy Waters mindset." The same day, you wrote: "Commute today was powered by Radiohead, Neil Diamond, Gene Krupa, Bad Religion, Ronnie James Dio, Foghat, Terrence Fixmer, Cristian Vogel.", what's the story here...?

"My music collection is vast and varied, and serious and ridiculous. I own a single turntable to listen to my record collection on, and occasionally sample something. CDs and tapes line the walls. I guess my ear is like the Sarlacc pit. I want it all."

What's also the idea behind the Dirty Party Snakes and your recent collaborations with Freddy Fresh?

"Dirty Party Snakes developed out of my admiration and fascination with the timeless legacy of blues music. I own a lot, and listen to it all the time, and started to think what if I used six oscillators in some synths for the strings of a guitar... what would happen, and can you do it? It is progressing, but I've started to put out some of the tracks. There will be a lot more. Alan Oldham [DJ T-1000] did a painting for the next record that will be the jacket. Bluecid Recordings in Sweden--through Joseph Garber at Membrane, and the TSR guys--is picking up this acid blues theme, so it should be cool.

"Freddy Fresh is one of my musical idols. His output and variety of electronic tracks is mind-boggling. We live relatively near each other, but never had our schedules line-up to work on any sort of musical project. Now they have, and we're diving into the machines like crazy. We're both pretty laid-back, but share a similar view of working 'hands on' in the studio. I expect there will be a lot of upcoming projects we do together, and I'm really excited that he was interested in seeing what we'd come up with. The first few times have been jam sessions and we just let the tape roll for hours with things going on all over the place. I'll be editing some of those up into coherent tracks, and then we'll also do some proper tracks."

You've worked under aliases like The Tonewrecker, Tone Broke, and Land Of The Lost, as well as with Frankie Bones as Birken & Bones, etc, etc. Which aliases are you continuing to use these days?

"Not sure. Music projects pop up unexpectedly sometimes. I'm always wondering if it just ends up confusing people in the long run. I don't have any licensing or publishing issues tied to my real name, so there's no specific need."

What's afoot with your label, Tonewrecker Recordings?

"Still have the back-catalogue available through Veto Distribution. I launched a new, strange label called Slappy Recordings, which will be on Input-Output Inc. as a download only label--two releases are already up. One of my own, and one compilation. Hey everyone, send me your weird funk, and we'll put it up if is the fit and legit. I pair it up with some of my doodle art, and *poof*...another one bites the dust. Tonewrecker still has some legs. I want to get a few things on there. The comp that was TW14 was a great mix of stuff, but was only a download for now. Time keeps on slipping."


Surgeon dropped in one of your tracks (with Tony Rohr) on the Warp Records compilation This Is For You Shits (2007), depositing you alongside Throbbing Gristle, British Murder Boys, Scorn, Monolake and Aphex Twin. What d'you think about these guys?

"Very flattering to be included on a mix of that nature. I own music from everyone in that track-listing, and consider them all leagues above and apart from what I am able to slap together. Thanks, Tony!"

You have a decent-sized history, having released your music on vinyl and CD, as well as releasing 12-inches through various labels like Communique, Drop Bass Network, and Tonewrecker Recordings. CDs seem to be a disappearing facet of the electronic music industry, and a fair amount of people are cutting back on vinyl production these days because they say it just doesn't make back the money invested. How do you feel about this?

"Personally, I only have my music as an outlet to keep myself sane and entertained in this world. Records on my own label are sold to recoup the pressing costs and put another release out (if possible). I think if people are trying to put out music just to make some money and line their pockets, then you are sinking your own ship. These days, I'm happy to see that more people can reach each other to share ideas about music and get tracks out directly to the fans, or DJs, or whomever wants it. Any of the labels that I do releases with I like to trade music with. Bartering can be the best solution between artists. I don't want to be bogged down in any business side of this. I don't have enough hours in the day around the rest of my life."

Is vinyl dead? Or just becoming more of a select option?

"I'm sure that it'll come back up. The distribution chaos made it tricky over the last few years--shops have gone under, and labels are kind of stuck with how they can move a couple hundred copies of a release to get the pressing costs back, which doesn't leave cash for the next release. Kids need to go find the magic of digging through dusty bins. Everyone should experience it even if you end up shopping online later."

You have a decent, growing presence on Beatport and other online digital carriers. What do you make of the digital download phenomenon?

"I guess there's a few things I've done, showing up on Beatport these days. It's funny, because Beatport rejected my label Tonewrecker initially, which was fine. I understand if it didn't fit in with the 'techno' stuff they were labeling. I've landed the digital catalog for the label over on the Input-Output site, and it is a cool little group of labels there. I seem to end up on all sorts of different types of labels. Some have digital stuff available, some don't. I assume this would expand more in the future with the push over to digital-only for some of them. More people have access to it from home, so that's fine with getting it to them that way."

Do DJs really need to continue to use vinyl, or can they instead construct entire sets out of stuff they've downloaded off the Internet?

"If I only make releases available on cassette tape now, what are the DJs going to do if they really want my songs? The medium is irrelevant to the end-product. They can manipulate it however they feel. Some DJs enjoy searching things out, and some like to be spoon-fed. I guess the only issues are the licensing people going after laptop performers to find proof of owning the tracks. I've discussed with Jon [Cynthia Stern] at Input-Output that we make a zip file of all the audio parts a free part of the release, so people can remix it on their own. Value for the dollar, and I'll bet it would yield some amazingly restructured compositions."

What do you think of the Japanese producers like Yasuda, Captain Funk, Co-Fusion, HIFANA, DJ Warp, Shufflemaster, Merzbow, Alone Together, et al?

"The Japanese seem to embrace vast arrays of audio arsenal, never getting pigeon-holed to a single sound or style. I respect and admire it, and someday hope to travel over and check it out first-hand in person. Some of my faves are Shufflemaster, from the Tresor stuff, and Warp for the machine-feel funk. I can't figure out why I just hate talking about music. I take it in and it is stored with a matched emotion and then I when I run inventory checks for my corrupt internal government I can exploit those feelings to make each day a little more magical. Note to self--Paul, that doesn't even make sense."


How would you define your remix of the Little Nobody track, Robota?

"A little bit country; a little bit rock 'n' roll. Thrills, chills, and spills. Running out of gas on a dirt road, with no moon to light your way."

Why did you decide to do the remix?

"I woke in the middle of the night with water dripping on my cheek, and running down past my right ear. The pillow was becoming soaked and I realized the window had broken from a tree branch that snapped in the wind. Water was flying into the house in a single stream, which was odd. When I grabbed a towel from the closet to dry myself off, I went to the garage to get some plastic and tape to temporarily fix the window and keep out the water, but heard a noise down in the studio that sounded odd. One of the drum machines had a single stream of water dripping into it, and was it hiccupping a chugging, slow pattern. I quickly hit 'record' to capture it and turn things off so I wouldn't get electrocuted. When I pressed 'stop', all the gear and my house dissolved into grey pixels and I fell to the ground and sat there in a muddy puddle with a small toy robot walking in front of me. It was muttering some fragments of a vocoded message. That was all I remember from the vision."

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

"Was using the genoQs Octopus sequencer as the brain... very cool beast. MPC1000 with the latest JJ OS on it is brilliant. I mostly create all my sounds/noises/grooves/jams externally, and then record streams of audio to manipulate later. Arranging in Ableton as a simple multitrack tape deck approach these days. I did start with Version 1 years back, and have loved the work they've put into it. No time-stretching... keeping it lean and clean. I like to think that I could drop in anywhere and write music or perform a live set with what is available to me.

"Here's the list of other gear... the current Tonewrecker Studios gear list:

Akai MPC1000 with JJ OS 2XL
Clavia Nord Lead 2 rack
Eventide Time Factor
Acidlab Bassline V2
Roland MC-202
Ensoniq DP-2 fx
Alesis DMPro
Novation DrumStation V2
Frostwave FAT controller Analog Sequencer
Dave Smith Instruments Evolver Desktop
MOTU 828 mk2
TSP Molester
TSP Pervers Incentiv
TSP Pollen
TSP Teaspoon
Ulti-Mult by Bryan B
Flame Clockwork
Flower Electronics Little Boy Blue Double
Grendel Drone Commander
The Harvestman Tyme Sefari (with The Sound of Thunder) and Doepfer A-119
Dwarfcraft Devices The Great Destroyer
Dwarfcraft Devices Power Struggle
Roland Cube amp
Zoom Streetboxx SB-246
Roland/Boss DR-202
M-Audio ProKeys 88 controller

Piles of software--I think that is it right now."

Which part of your studio is the most vital facet?

"Location! It's in my house, so I can work nights and still be available to my family, which is important to me. All machines are in close proximity to each other, so it is also easy to get them to interact. Sometimes they play nice, and sometimes it is a battle royale. A mix of midi control and CV/Gate stuff. External sounds, internal computer manipulation, or vice versa. The sky is the limit. Most days, it looks like a tornado went through the room, as stuff is moved around everywhere."

What food/drinks keep you fueled throughout production time?

"Big cups of water with some ice. Actually, I'll brew up some coffee and let it sit out for 24 hours to thicken up a bit like motor oil, and enjoy it the next day: Sludge. Woody McBride gave me a new juicer the other year, after my cheap one had taken a dive. That is always good. Message to the world... do not drink the juice of an onion!"

Care to add anything else?

"The end is upon us. Don't be afraid to fail. Bargain bins aren't always the best sale. Mix your machines with raw emotion, but never raw chicken. Squawwk. Thanks for asking me to be part of the remix project!"

The fine folks for whom I've worked for, for ten years are sending me away for a week. I won't have a lot of access or even time to do anything FitM related during this trip. So I'm writing this week off as far as new content goes.

While I'm away if anyone stumbles across something you feel I may like, feel free to post it as a comment. I'll check it out when I return. It'd be nice to have some surprise Sets or New Releases waiting for my ears to absorb them when I step off of the plane and return home.

Here's a bit of stuff for you to play with until I return on March 21st:

Gavin Richardson @ Substance, Feb. 2009

Kleez.One's 1991 Mix:

Rum & Black - ESQ / Slaves
Pink Noise - Gimme Some More (Energy)
Wishdokta - Bannana Sausage
Penetration - Forced Entry
Nitrous - After Life
Two (3) - Let's Do This
Convert - Nightbird
Messiah - There Is No Law (Remix)
Program 2 Beltram - The Omen
Voice Of Rave, The - The Voice Of Rave
Obertron - Insanity
Diceman, The - Quad
2 Fabiola - The Milkyway
Napoleon - The Softcore EP
Ragga Twins, The - Good Times
Toxic Two - Rave Generator
Richie Hawtin - Ebeneezer Goode (South Of Detroit Instrumental)
Klubzone 1 - Soft To Hard (Cor Blimey Mix)
Mundo Muzique - Acid Pandemonium

Download Kleez.One
(As a side note: Kleez.One is currently working on a Bleep show!)

Frankie Bones: Factory Mixtape 73 - Side A | Factory Mixtape 73 - Side B

Neil Landstrumm @ ugly Funk

TSR Live @ Dogma, 2005

Steph Live @ ak44

Koda: Made in Melbourne

Vote 4 Votes

"Hey, had a crack at those questions," wrote Andrew Stratton in an e-mail that landed in my Yahoo account yesterday, courtesy of his own account at Hotmail. Ahhh, the marvels of modern technology, I mused. "Still trying to find a decent photo... the only photos I really have of myself are me completely and utterly wasted... and the pictures are worth more than 1,000 words."


Andrew is one of Melbourne's current new wave of talented electronic producers, and if you've missed the several waves that've come out of that Australian city since the '80s and Ollie Olsen's outfit, Orchestra Of Skin And Bone, you've got an extensive back-catalogue to try to hunt down.

I have a lot of unrealistic, uncompromising affection for Melbourne--it's my hometown, after all, and even after 8 years in Tokyo, the two things I miss most about Melbourne are the fish & chips and the local music.

And while everyone sings the archival praises of Detroit, Chicago, London, Berlin, New York, or wherever else with a population in excess of a million people and a cool landmark or two, it's high time Melbourne (population 3.8 million, but no decent landmarks at all) got the praise and recognition it deserves, having nurtured Ollie Olsen, David Thrussell of Snog/Black Lung fame, Steve Law (Zen Paradox), Voiteck (Kne'Deep), Adam Raisbeck (Sense), Digital Primate and Blimp (Pro-Jex), and our own IF? Records crew.

You may notice that I harp on about IF? a mite too excessively within these twee articles and interviews, but it's my second li'l baby (after my 3-year-old daughter, Cocoa), and a lot of the time the artists I love and respect I end up releasing through the label precisely because of that--which then gives me the motivation (and excuse) to interview 'em.

So, anyway, back to Andrew Stratton, and a classic case in point.

The whole Melbourne thing has its root within the discussion of Andrew and the release of his brand new Koda EP on March 15th. It's titled 'Indix', and we're pushing it through via IF? with a swag of additional remixes by 4 of Andrew's Melburnian contemporaries: Bitch Shift, Son Of Zev, Little Nobody and Enclave. Gives it that "Made In Melbourne" vibe, which truly is something rather special.

"I guess the coolest thing about Melbourne at the moment is the constant mix of these artists who are still playing 'their' sound. The veteran/old school artists are still getting booked for gigs, playing next to the newer guys, so for a night out it totally sexes it up," Andrew muses.

He's been producing music himself for quite a time now.

"I guess it's been about four or five years, on and off, around DJing, but since I stopped DJing about three years ago, it's given me time to focus on live projects; change keeps me motivated, but at the same time it's very frustrating. My favourite sounds are things like Speedy J and older Grindvik & Hardcell. Chris Liebing, Hertz, Joel Mull, Adam Beyer and Si Begg are artists I've been into for years, and are always pushing the limit, and I'm liking a lot of Dominik Eulberg and Reinhard Voigt at the moment, too.

"The sounds have changed so much, so quickly, and it's nothing like what it used to be--but this will all change too, and I'm sure it will be really cool and definitely motivation to keep up!

"I have a range of hardware which I'll use when I see fit to, I guess; most of all I use a Yamaha SU700, which is great in the studio for starting a track--I can easily get sounds and ideas onto it and get a good feel for a track before I get it into Logic; it's also the centerpiece for my live shows. For years I was using Reason for production, and I still do for some certain bits and pieces, but I've found a really nice work-flow inside Logic 8: it's a very intuitive daw, and there's not much it can't do. I like to dabble in sound design and soundscape, but it all ends up being techno at some point."

CDs seem to be a disappearing facet of the electronic music industry, and some people would have it that labels are cutting back on vinyl production these days because they say it just doesn't make back the money invested.

"Yes and no," Andrew muses.

"Coming from a DJ background myself, I could never accept the move from vinyl to CD, let alone digital download; for me it was a very purist/audiophiliac/honourable thing to own vinyl of your favourite artists. While I still cherish my collection, I have now come to greatly appreciate digital download--for everyone involved, it makes everything so much easier, DJs are finding what they want, artists are being promoted, and the scene here in Melbourne seems to be flourishing at the moment."

Which brings us back to IF?, a label that was set up in 1995, when Andrew was just a kid.

"You guys have been doing it for so long--I have 'Zeitgeist 2: Sounds of Future Melbourne', from 1996, in my vinyl collection. There's not a great deal of crew who stick it out for this long and still have a passion for it. Keep it up!" he enthuses.

But I'll let you in on a little secret: It's the constant discovery of far more talented new artists, like Koda, that've kept us on our wee toes and inspired all along the bumpy trail.


"I started playing drums in school when I was about 14 or 15 years old," muses Glasgow-based techno musician, Thomas Mccluskey, better known more recently as E383.

We're releasing an E383 EP (Radion) through IF? this month, which will be up on Juno Download on the 15th, if you wanna test the choice Scottish waters here.

The charm of interviewing someone like Thomas is that not only is he a nice guy with a penchant for late nights and a shit-load of coffee (like me), but he has a lot of interesting stuff to say--and he also engineers devastatingly cool tunes.


"I used to skip classes and my music teacher would just hand me the keys to the music room. Drumming comes naturally to me, and I'm fascinated with rhythm; always have been. Maybe because my dad played percussion in a military band when he was in the army. I actually followed in his footsteps and joined the army when I left school. But I hated it and had to get out. I had just left the army at the age of 18, and found all my old friends were listening to this crazy breakbeat hardcore music. Around the same time I happened to buy a magazine for my Amiga computer which had a floppy disc attached. This disc had a trial version of OctaMED, a sample-based sequencer, and I was instantly hooked and started making my own hardcore tracks... then I discovered techno and never looked back.

"I've been producing electronic music for around 18 years now, although most of that time it was just as a hobby. It's only been in the last seven years that I realized that people were taking an interest in what I was doing.

"I started out using my own name, Thomas Mccluskey, and my very first release was in 2003, Illegal Beats on Sifted Recordings in New York. The track was produced on my old Commodore Amiga, and the sound quality was terrible, but they released it on vinyl anyway! The remixes by Ramie Burns and DJ Donovan were OK, though.

"I had to take a long break from music due to ill health--cancer. Thankfully, I made a full recovery. So it's only been the past two years that I've really got back into producing, and I'm glad to say that the future is looking good and I'm sure I will be working with more artists soon.

"If you check me out on MySpace, you'll notice I've used the term 'minimal' to describe my music, as I feel a lot of my work is minimal... although people tend to have a strange idea of what that means these days. Let's just call my stuff techno.

"You can check out my remix of Martin Mueller's 'Alien Key' on his Connected EP through Home Records; Mike Dearborn also did remixes for this EP. And then there's my Northern Lights track coming out soon on the Hypnotic Room label, with a remix by Woody McBride. It looks likely I'll have something coming out through their sister label, Elektrax, maybe soon. I've just been talking to a free netlabel based in Italy who are interested in releasing some of my older material, which I'm thinking of releasing these under my own name as I feel they don't fit with what I'm currently doing, and I'm also in negotiations with a couple of other labels--although nothing is definite with them... yet."


"I'm loving this digital explosion; so much great music is now instantly available, we're spoiled for choice! Although I must say I'm not impressed with what is being called 'minimal' these days--a lot of it sounds the same, almost as if it were all being produced by the same artist... but each to their own, I suppose.

"It's hard for a lot of labels to keep their heads above water. They have to do whatever it takes to get the music out there, that's what's important. To me, it doesn't really matter what format it's on. I hear a lot of people complaining about the death of vinyl, and I used to care, back when I was buying vinyl. These days all I ever buy is digital. I'm happy with that to be honest--and I was never into CDs.

"Although I find the prospect of a DJ mixing without vinyl and CDs to be very interesting indeed, there is nothing quite like a DJ who can mix vinyl and do a fantastic job of it; it gives you something to watch as well as to listen to."


"My set-up these days is minimal. I still use OctaMED, and I was very pleased to see it released on PC a few years ago. I got my name, 'E383', from my analogue bass synth: it's a FAT Freebass 383 303 clone, although it doesn't really sound like a 303... which I'm actually pleased about, since it has its own sound.

"I never really eat much in the studio--I'm on the caffeine and nicotine diet."


"My taste is pretty much old-skool, I love the sounds of UR, Jeff Mills, Joey Beltram, Dave Clarke, Robert Armani, etc... the usual guys. Also Martin Mueller, from Austria; he's just set up his own label, Home Records. I have a lot of time and respect for Martin and his music, as well as my good friend Rick RRKS from Chicago; I'm hoping he gets his tracks out there soon.

"Back when I was listening to John Peel on Radio 1 all those years ago, he used to play tracks by Tobias Schmidt and Neil Landstrumm, and for a long time I didn't realize they were Scottish. I have a lot of respect for all these guys. Also, Hologram Hookers from Glasgow; they have a very nice acid vibe, and are creating quite a buzz over here. I know a few unsigned artists from Scotland who I have a lot of time and respect for... but not because they are Scottish, just for the fact that they produce quality music."

Pop the "dead channel" question off some people, and they may grab at The Grateful Dead Channel, broadcast across North America from 2007 and hosted by Grateful Dead band members Bob Weir, Mickey Hart, Phil Lesh and Bill Kreutzmann, along with archival chin-wags with Jerry Garcia.

But bounce dead channel off those of us outside the U.S. and Canada, particularly people of the left-field electronic muzak persuasion, and--at least since early 2008--we'll steer you in the direction of the U.K.


Leeds, in the north of England, actually.

That Dead Channel posse runs a net-label which aims "to serve as a vehicle for the transmission of electronic music that has little, or no, other outlet", they say.

Dead Channel releases can be downloaded for zero-cash (here superimpose free in case you don't get the gist), in high quality MP3 format, and these penny-less downloads include full-colour cover artwork and embedded art for MP3 players like your iPod thingy.

The site is updated with new releases on a nearly-regular basis, and news can be found on their dead channel blog.

There's some crazy shite here, most of it superb, and cannily diverse; it's one of my own one-stop shops and I'm enamoured with the releases by people like Micoland, Ant Orange, Kubex, Sofaboy and Naffdogg.

Today, they did it again with their latest batch: Previously unreleased stuff by Noisepsalm, Asymptote, Dimomib, and my own hack project, Little Nobody. You can check out this trilogy and download the beasties here.


Dead Channel also released the sizzling Lego Project compilation just 3 months ago, and they've disseminated an array of other cool music over the past 12 months, all of it FREE. Weird, I know. These people are not into making profits, or any money whatsoever it'd seem, but it's nice to get freebie sounds when the global economy is doing its take on a fancy Olympic swallow dive.

"The label was set up by me and my housemate, Ant," says Chris Kubex.

"We're both part of an electronic music collective here in Leeds, England, called Gonzo. Dead Channel was initially developed as a platform that Gonzo artists could use to share their music, and gain exposure from it. But the quality of unreleased music we began to be exposed to, not just within Gonzo, but from all over the world as people sent us demos, meant we ended up releasing stuff by artists from America, Greece and Japan, as well as from Leeds and the UK."

What Dead Channel doesn't seem to have is stylistic perimeters, although Chris retorts that there are some constraints.

"I guess, in musical terms, we tend to favour the outside edges of mainstream electronic music; not veering far enough into the experimental to seem pretentious, not veering far enough into the mainstream to be considered ordinary or boring. At least that's what we try and do, but on an unconscious level. We get given or sent a lot of music, and we just release the music that strikes us as interesting. I wouldn't say that there is a Dead Channel 'sound' per se, but like I said above, we seem to sit on the outside edge of mainstream electronic music, between the experimental and the dance floor, veering occasionally like a drunken person... or something."

The Leeds connection is the glue that holds this particular crew together, evidenced in the array of parties and club nights they're involved in within that city on the River Aire.

"Well the Gonzo collective all have different backgrounds and come from all over," Chris relates, "But mostly, these people met while at university, or after moving to Leeds from various other cities. The area of Leeds we all live in is quite bohemian, and conducive to spending life being creative, making music, putting on parties and getting by how we can. We all share this ethos, so naturally gravitated towards one another, finding a shared love of electronic music, art, drugs and debauchery."

With these influences in mind, it'd be pertinent to jot down any special messages for all the kids reading this at home.

"Er... download our music? It's cheaper than booze and fags. Hope this is OK; got a bit stuck on this last question!"

It looks like the year is well underway. A lot of great mixes, both new and old floating around lately. A healthy amount of New Releases to get excited about. And finally, it seems as if the site is doing well. There was an above average level of contributions from you lot this month. I encourage you to keep commenting on the bits you like and even to recommend related releases, sets and whatnot. In the end I only post stuff I like, but that's not to say I'm the only one who can find new and exciting things.

Speak up. Even if there is no New Release or Mix for you to share, by all means feel free to recommend an old release that you feel holds it's own still and I'll mention it.

Trevor Wilkes

Files with more than 1000 Downloads:
Bleep Radio 49: Trevor Wilkes
Neil Landstrumm Live @ Bomb-o-matic
Bleep Radio 41: Trevor Wilkes
Dexorcist @ Coin Op Vs. Ugly Funk
Mustard Gunn @ Coin Op Vs. ugly Funk
Bleep Radio 44: Sebastian Prelar
Cari Lekebusch @ Phryl Progress Side B
Ronny Pries: Traktorized
Ronny Pries: Tape Discoveries
Bleep Radio 15: Trevor Wilkes
Bleep Radio 148: Dj Dro San
Bleep Radio 43: Trevor Wilkes
Jerome Hill @ Ugly Funk Vs. Coin Op
Bleep Radio 144: Trevor Wilkes
Thorsten Sideboard: Bored Mix
Suktion Kup Mix

Referrers of more than 1000:

Top 5 Search Terms:
"fun in the murky",
"bleep radio",
"little bitches",
"edmx 2k3 beats"

Other search terms that let me know which posts were perhaps the most resourceful for people: "spandex bermuda triangle", "bass junkie comply", "mutter fuck", "download heaven", "super magnet", "edmx podcast".

The Raw Numbers:
bold = increase over last month
Successful requests: 436,228
Average successful requests per day: 15,583
Successful requests for pages: 303,540
Average successful requests for pages per day: 10,843
Redirected requests: 3,696
Distinct files requested: 25,467
Distinct hosts served: 18,515
Data transferred: 647.34 gigabytes
Average data transferred per day: 23.12 gigabytes

Geo Locations February 28 2009.jpg

During the month of February there were visitors from over 784 cities across the world. Here's the top 25 city breakdown.

City - Visits | Average Pageviews
London - 249 | 3.84
St Petersburg - 119 | 3.93
Berlin - 99 | 4.13
Kassel - 96 | 1.22
Grimsby - 95 | 4.99
Frankfurt am Main - 87 | 3.28
Halle - 71 | 2.49
Norwich - 65 | 2.11
Dublin - 59 | 4.75
Edinburgh - 58 | 2.78
Adelaide - 56 | 2.66
Shinjuku - 49 | 2.53
Minneapolis - 46 | 1.59
Sheffield - 42 | 1.88
Manchester - 42 | 3.81
Giessen - 41 | 7.80
Birmingham - 40 | 4.48
New York - 33 | 1.45
Nuremberg - 31 | 4.26
Shibuya - 31 | 2.00
Kiel - 30 | 3.77
Toronto - 30 | 3.33
Stockholm - 30 | 2.10
Dusseldorf - 29 | 2.34
Tampere - 29 | 1.45

Ad Revenue
(Money earned via the Google Ads and Banner space)
Google Ads: 32 Clicks / $3.33
Banner: $0

Murky Ad Totals for February: $3.33
murky funds are for Murky's server and bandwidth (647 gigabytes this month!)

Trevor Wilkes


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About this Archive

This page is an archive of entries in the News category from March 2009.

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