CB: First off, where did the name “Runaway” come from?
R: Del Shannon’s “Runaway”

CB: Though both of you guys have been respectively doing your thing for quite some time in New York , Brooklyn Club Jam was definitely a breakout opportunity in 2008. What do you guys have planned for 2009 that will set you apart from your disco-friendly peers?

R: There’s definitely a lot of music that comes out of NYC, its no surprise to me that the fusion just continues. You’re surrounded by change and development, its only natural for people and the music to take the same course. We love disco, house, techno…dance music in its entirety. Marcos and I will continue to create a sound that we’re curating ourselves as we go.

CB: Asides from homegrown edits made by yourselves or friends on cd-r, do you guys still stick to mostly vinyl (I remember Jacques playing all vinyl when he was here this summer)? If so, why do you still put up with the hassle of baggage fees, missing luggage, dodgy turntables, etc.?

R: Vinyl is the best sounding format for music. It’s always worth the effort and everywhere we go people take note. More and more venues all over where we play understand and learn from their mistakes and work hard to have a solid DJ booth with working gear for DJs like us to use and love and tell other artists about their club. Why do you think places like Paradise Garage, Music Box and Mancuso’s Loft are still spoken about? The sound was amazing, I believe a few still remember that and work hard to live up to that experience.

CB: Do either of you have any mentors that have helped inspire or teach you anything relevant in terms of your DJing, production, etc.?

R: Ron Hardy is probably at the top of our DJ list, plenty of inspiration there. John Selway here in New York has helped us in all areas of production, we have to thank him for all his excellent advice.

CB: What processes do you guys go through when sitting down and writing a song?

R: We’ve both been collecting records for years, and tho we have similar influences, to our advantage we have many different takes. We hear different things and bring different parts to each song. Either one of us will have something in mind and the other will add another idea to it and the creative process develops to something that we’re both pleased with. Always a work in progress.

CB: It seems that people are constantly bitching about the state of nightlife in New York, with nostalgic reminisces of how it “used to be” (in the pre-Giuliani 90s). What drastic, self-initiated steps do you think can be taken by the people themselves to improve the opportunities and quality of dancing and nightlife within the 5 boroughs?

R: People will always complain, they complain how it was even better last year. Steps have already been taken and the sound no longer is trapped in the club but always where people want it to be: in a loft or warehouse. These parties are attracting people from all the boroughs to Brooklyn, Manhattan, etc where Runaway is no stranger.

CB: Jacques, you grew up with Eighty-Eight head, David Fogel, in Bethesda. What experiences in the D.C. metro area shaped your musical tastes, inspiration, etc.? Is it a surprise that both of you are pushing fiercely independent, creative projects steeped in electronic music and production?

R: When I heard about what David was a part of it gave me a big smile. Growing up in the Washington area definitely was to our advantage in my opinion as my entire childhood I learned about all different styles of music. Never thought I’d be a producer or a DJ, but things lead you to do other things. In my case I was in countless projects with others constantly trying this and that to make something work. All of a sudden I found myself in front of turntables where I was the only one and it was quite exciting. Sometimes it’s better to just do it on your own. Sometimes you have to wait and see who you work well with. New York has it’s individuals, Marcos and I clicked.

CB: Furthermore, were you ever involved in any bands or musical projects growing up as a teenager in the D.C. area? It appears that a common trait, at least of DC based, DJs was that they were involved with punk and hardcore as teenagers.

R: Yeah you guessed it. I pretty much checked out every scene after going to an Ashes show in Bethesda’s Legion club of all places in the early 90s. Pretty blown away, I went to more shows seeing bands like Slant 6 or Blonde Redhead opening up for The Make Up or Monorchid. Even Damnation AD, The Suspects, all that new/old punk and hardcore stuff. I was in a few bands and played around the city including a few shows at the old Black Cat. I discovered Djing while I was in high school actually. I went to Cold Rice at The Kaffa house only a handful of times where DJs played on an amazing soundsystem blasting dancehall, soul & drum + bass. It was fantastic, really. I was sold, and got into it.

CB: What are a few new or old records that you guys are really into right now?

R: These are a few artists & labels, old and new, that we’re into currently: Motor City Drum Ensemble, Kerri Chandler, Move D, Agnes, Motor Bass, Drumpoet, Gorge, K Alexi, Sasha Dive, The Revenge, StillLove4music,

CB: What are you expecting from your upcoming gig at LODA in Silver Spring?

R: Goodtimes – we’re gonna play some house music

Here’s a recent Runaway Mix for ya:

And the tracklist:
Losoul – Mantra
Sascha Dive – Deepest America (Moodyman remix)
Farley Jackmaster Funk – This is House
Motor City Drum Ensemble – Raw Cuts
Kenny Larkin – Rush Hour
Blaze – Lovely Day
Kreon – Just Jack
Manuel Tur & Dplay – Deviate
Robert Dietz – Kanban
Ricardo Villalobos – Spirtzcussion

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{interview} Chris Burns interviews Runaway

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1. {Interview} Aligning Minds and Mussck by DJ Slouch Here

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When I was last down in DC for X last month, I tagged along with Aligning Minds to Space 88 for the after party. We were all dropping our new tracks on the playlist when Mike of AM dropped a gem on me. It was the fruit of a new collaboration with UK’s Mussck. It was a startling change from everything I’d heard from Aligning Minds in the past, so I was moved to do an interview with the trio to tag onto the Immerse Tour feature we did with the Great Mundane last month.

The Immerse Tour (ongoing) consists of Aligning Minds, The Great Mundane, Kilowatts, and Psymbolic Visuals. They’re hitting the midwest, West Coast and British Columbia in May and June. Both AM and the Great Mundane have tracks on the upcoming PSC Volume 1 Mixtape.

Outputmessage/City Rain – I Remember (Aligning Minds & Mussck Remix)

Interview…

PSC: What influenced your decision to persue a stylistic change in your work?

Mussck: The Aligning Minds sound reminds me of one of my favorite artists – Telefon Tel Aviv, I’m really into that kind of style. I just wanted to work with them from day one when I heard their beats.

Mike (Aligning Minds): It was more just a natural connection then a conscious decision to change anything. One of those things that just happens without much effort and before you know it your in the midst of something new. We are always open to new ideas and constantly striving towards sounds that inspire us. I had an immediate connection with Mussck’s sound, not to compare, but he reminded me of a young Scott Heron and I was just fascinated by his ability to spit out such quality and originality in a mere few hours. I would send him something that I was working on and literally within 2 hours he would send me back a complete remix with all the stems separated and be like ok now what.. give me more.

I remember a few weeks back Mussck said “I’m the Tiger Woods of IDM” .. haha and I for one wouldn’t argue.

MusSck’s baby.

PSC: Do you view this new collaboration as a progression or more of a temporary offshoot of the normal Aligning Minds vibe?

Mussck: To me our collaboration is something new there is a total different vibe when we’re making tracks together, we just forward so many ideas, Mike got me into making glitch accents/micro edits on one of the remixes that we made which was the first time I ever did that and it worked well.

Mike (Aligning Minds): It is definitely something new for me.. It’s the type of sound that I’ve always been secretly in love with. I think everything an artist does progresses their overall sound regardless of the moniker they are releasing it under. We will always be pushing the Aligning Minds sound, there is just a part of me that is in love with pushing Glitch as far as you can take it before it looses form and becomes incoherent.

PSC: How have you approached the file sending creative process? How have you been forced to change the way you build?

Mussck: I’ll get a preview of the latest material that they came up with, we have some discussion on the net where we can take the track from there. Then i do my thing with the samples and send it over and they do their thing, its really easy and simple.

Mike (Aligning Minds): Yeah it’s really quite simple, I’ll send Mussck the .wav forms of something I’m working on or vice versa, he edits it and adds his flavor sends it back and we just keep doing that until its done. We just go back and forth like that. The last track we did together was a remix for City Rain and Output Message, I think that was the first time we truly combined our sounds at that level. That was really the point where we realized we need to join forces and start doing some stuff together on the serious point.

PSC: Has the reaction changed from the artists and fans you’re surrounded by?

Mike (Aligning Minds): No, not really, I’ve always pushed alot of glitch hop oriented sounds in our production. I think so far when people hear this new stuff with Mussck, they see it as more of a harder, dancier sound then alot of the stuff we do as Aligning Minds. I think if anything people are excited about it and interested to see where its going to go. We are going to be focusing on putting together an EP to shop around in the next few months.

PSC: What has the Immerse tour meant for your growth as a group?

Daniel (Aligning Minds): The Immerse Tour has been an amazing opportunity to link up with 2 of our favorite artists in the US right now. We feel like we all share a mutual vision for our music, in terms of motivation and aesthetic. We also all belong to a collective called Psymbolic based in Chicago which has served to root us together in this endeavour. It’s been a learning opportunity for all of us as none of us have really put together a proper tour before. We’ve learned alot and will hopefully do another one next year that will build from the success of this one. Overall it’s been a great opportunity to work with everyone involved, it’s truly amazing to see what you can come up with when you unite with other artists and combine resources. The end result is its going to be an amazing experience travelling and performing with these guys, and representing what we’re about to so many different cities and groups of people.

PSC: What’s next for Aligning Minds?

Daniel (Aligning Minds): We’ve got alot of stuff up our sleeves really. A quick breakdown of our upcoming year: We’ll be continuing a productive agenda of music production, pushing as many releases as possible, live performances, collaborations (e.g. Mussck, Telemetrik), a slew of upcoming remixes, and the cultivation of our brand. First and foremost we will continue our residency at the X event, DC(www.xindc.tv), along with supporting the Loda event in DC (www.myspace.com/loda88) and Eighty Eight’s (www.eightyeightdc.com) various other events in the DC Metro area. We will be on the Immerse tour in May and early June. At the end of June we are scheduled to begin a series of training workshops at Space 88 (www.space-88.com) in DC, teaching the fundamentals of electronic music composition and production to aspiring artists. Our first full length album on Aleph Zero Records (www.aleph-zero.info) will be released in the fall of 2009, with full artwork and promotions. Also in May we will be releasing an original single with local DC record label Odds and Ends. Starting in June, we are to begin a collaborative project with the DC based modern dance troupe Contradiction Dance, and magician/performance artist David London (http://www.divergency.com/ Rockville, MD). In August we are scheduled to begin work on a sound library product for the sound design company known as Galbanum (Annandale, VA), which will be distributed globally as a tool in music production and performance projects. We will also be playing a number of large music festivals in various areas of the US. Our main focus right now is to continue to market and promote our music in order to gain new label signings, future releases, improve our branding and business model, and gain new corporate sponsorships. All in all, we’re just trying to get bigger, better, and more sonically delicious.

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{Interview} Aligning Minds and Mussck by DJ Slouch

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More info: http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=283301401

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Jubilee Tracks – for review.

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An introduction, c/o Wiki of course:

Dub is a form of music which evolved out of reggae in the late 1960s. The dub sound consists predominantly of instrumental remixes of existing recordings and is achieved by significantly manipulating and reshaping the recordings, usually by removing the vocals from an existing music piece, emphasizing the drum and bass frequencies or ‘riddim‘, adding extensive echo and reverb effects, and dubbing occasional snippets of lyrics from the original version.

It is widely accepted that Jamaican musicians Osbourne “King Tubby” Ruddock, and Lee “Scratch” Perry. Ruddock and Perry each called upon the mixing desk as an instrument, with the deejay or “selector” playing the role of the artist or performer. These early ‘dub’ examples can be looked upon as the prelude to many dance and pop music genres.

Today, the word ‘dub’ is used widely to describe the re-formatting of music of various genres into typically instrumental, rhythm-centric adaptations.

Having explained the Dub phenomenon, we’re kicking off the Month of Dub with two very exclusive mixes from DC’s own Version Sound crew. From the VS myspace page…

Version Sound = Washington DC’s Dub Specialists. 3 Selectors, 1 MC and 1 Space Echo unit make up the group. We merge the underground Dub sounds of the 70s and 80s with newer Dub music, mixed in with a little roots reggae; VS bring together the classic hardcore/punk rock aesthetic of the 70s & 80s with the stripped-down drum & bass sound of the orignal Dub masters…. VS sounds like: King Tubby, Prince Jammy, Aswad, On-U Sound, Bad Brains, The Clash, Ruts DC, Jah Shaka…

As you can see from their myspace page, Version Sound’s musical influences run the gamut!

The two mixes we are featuring for Underground Knowledge are Version Sound’s Twiss Up and Be Thankful. Combined, both have received over 50,000 downloads in a month’s time (!) and have garnered heavy praise from all over the world.

The first mix is “Twiss Up” – featuring a bunch of obscure Dub tunes that you will love. We’ve loaded up the chamber with dubbed-out 80s arcade fx, lazers and digital bombs, which really help bring the soundsystem vibe to the mix. Twiss Up goes into some obscure Jamaican funk later on in the mix – featuring two tunes from a rare record called Prime Cuts. Then its back into Dub. Good stuff. The second mix “Be Thankful” is a more rootsier dub, deejay and early dancehall-oriented mix. Both are excellent mixes and won’t dissapoint!

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Version Sound – Twiss Up
April 2008

1. Ethnic Fight Band – Dub Explosion
2. Ethnic Fight Band – Danny J * Special Dub
3. Fatman Riddim Section – Twelve Tribes Rock
4. Fatman Riddim Section – Sounds of Israel
5. Joe Gibbs & The Professionals – Majestic Dub
6. Matumbi – Ajali
7. Blackbeard – Hyde Park Corner Investigation
8. Blackbeard – Who Made The Prime Minister’s Honour List
9. Prince Hammer – Churchill
10. Prince Hammer – Dreadlocks Rebel Force
11. Dynamic – Dub Dunza
12. Fatman Riddim Section – Lick Chalice
13. ??? – African Communication
14. Prime Cuts – Two-Way Stretch
15. Prime Cuts – Vice-Versa
16. Junior Delgado – Dance a Dub
17. Kodama & The Dubstation Band – Fire Fire
18. Kodama & The Dubstation Band – Neppu No Machi Pt. 2
19. Lloyd – Blood for Freedom Dub
20. King Tubby, Scientist & Prince Jammy – Chapter 2
21. Creation Rebel – Drum Talk

Version Sound – Be Thankful
March 2008

1. Aswad – Warrior Charge
2. Dennis Bovell – Scientific
3. Ranking Joe – Gideon Time
4. Prince Lincoln & the Rasses – Interstellar Over Dub
5. Joe Gibbs – No Bones for the Dogs
6. Clint Eastwood & General Saint – I Can’t Take Another World War
7. Twilight Circus Sound System – Dub Voyage
8. Aswad – Hey Jah Children
9 . Lone Ranger – Rub ‘n’ Scrub
10. Mikey Dread – Resignation Dub
11. Yabba You – No Tarry Yah Version
12. Clint Eastwood & General Saint – Another Ones Bites the Dust
13. Little Joe – Tradition Skank
14. Prince Jazzbo – Gal Boy I Roy
15. Jah Stitch – Set Up Yourself Dreadlocks
16. Michigan & Smiley – Sensimilla
17. Ranking Dread – Superstar
18. Mikey General – Tell It Like It Is
19. Dr. Alimantado – Poison Flour
20. Augustus Clarke – Rockers Time
21. King Tubby – Moving Version
22. Donovan Carlos – Be Thankful

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Come check out Version Sound live this Friday at LODA/Gallery Silver Spring. Flyer:

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UK Underground Knowledge [June 08] : DUB

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UK Glitch v2 Week 2 – Part 1:
1. Kangding Ray – Downshifters (2:40) [Berlin]
2. Kangding Ray – Quarante (3:39)
3. Ab Ovo – Nocturlabe (4:12) [France]
4. Ab Ovo – Maelstrom (6:16)
5. Ab Ovo – Descendance (6:50)
6. Bola – Opanopono (2:29) [UK]
7. Bola – Effanajor (8:19)
8. Bola – Pfane Pt. 1 (3:47)
9. Bola – Eluus (9:40)
10. Deru – The Days Before Yesterday (6:48) [LA]
11. Deru – Loki (7:03)
12. Deru – Words You Said (5:59)

UK Glitch v2 Week 2 – Part 2:
1. Twile – Traum-a (7:39)  [Helsinki]
2. Twile – Grimalkin (8:07)
3. Twile feat. Milja – Sedna (8:33)
4. Maps And Diagrams – Tanachk (2:17)  [Outer Space?]
5. Maps And Diagrams – Borobudur (4:04)
6. Maps And Diagrams – Fungal Hyphae (4:23)
7. Ab Ovo – Moments (5:38)
8. Ab Ovo – Timewarp (4:43)
9. Ab Ovo – Escale (5:05)
10. Ab Ovo – Soundgate [Emphasis Remix] (6:57)

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UK Glitch V2 [week 2]

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For the month of May 2008, we are re-exploring the vast genre of Glitch. Week 1’s show was produced by PMX DJs from their office using Adobe Audition editing software (and it turned out quite well! Check the podcasts…)

A bit about Glitch, c/o Wiki:

Glitch (also known as clicks and cuts from a representative compilation series by the German record label Mille Plateaux) is a genre of electronic music that became popular in the late 1990s with the increasing use of digital signal processing, particularly on computers. The origins of glitch music are derived from the failure of digital technology. The effects of failure in technology, such as bugs, crashes, system errors, hardware noise, skipping and audio distortion, can be captured on computers and provide the basic building blocks of Glitch music.[1] Often considered a sub-genre of electronica or intelligent dance music, glitch eschews traditional instrumentation, preferring instead the use of mechanized and non-natural sounds. Though rhythm is a central focal point of glitch, the style’s various sub-genres range from the ambient to the dance-oriented.

Glitch is often produced on computers using modern digital production software to splice together small “cuts” (samples) of music from previously recorded works. These cuts are then integrated with the signature of glitch music: beats made up of glitches, clicks, scratches, and otherwise “erroneously” produced or sounding noise. These glitches are often very short, and are typically used in place of traditional percussion or instrumentation. Skipping CDs, scratched vinyl records, circuit bending, and other noise-like distortions figure prominently into the creation of rhythm and feeling in glitch; it is from the use of these digital artifacts that the genre derives its name. However, not all artists of the genre are working with erroneously produced sounds or are even using digital sounds.

Popular software for creating glitch includes trackers, Reaktor, Audiomulch, Bidule, Super Collider, Ableton Live,FLStudio, GleetchLAB, MAX/MSP, Pure Data, Usine, and ChucK. Circuit bending — the intentional short-circuiting of low power electronic devices to create new musical devices — also plays a significant role on the hardware end of glitch music and its creation.

How very interesting!

Now for the goods>>>>

UK Glitch v2 Week 1/Part 1:
1. Bit Meddler – Frustum (4:45)
2. Bit Meddler – Dermetfak (3:20)
3. Eight Frozen Modules – A Chiming Segway (1:49)
4. Eight Frozen Modules – Your Novelistic Career (3:30)
5. Eight Frozen Modules – Randolios Getaway (3:59)
6. Eight Frozen Modules – Drills for Devil Dub (4:07)
7. Eight Frozen Modules – Believe that (3:23)
8. Eight Frozen Modules – Corteme (2:17)
9. Amorph – Home Sweet Home (4:35)
10. Amorph – Statique (4:07)
11. Amorph – Riding (4:55)
12. Amorph – Look Ahead (4:38)
13. Antiguo Automata Mexicano – Fluvial (7:21)
14. Antiguo Automata Mexicano – Detector (6:33)
15. Antiguo Automata Mexicano – Enemy Smashed (7:39)
16. Antiguo Automata Mexicano – Banquet (5:41)
17. Antiguo Automata Mexicano – Florian Fricke (7:40)

UK Glitch v2 Week 1/Part 2:
1. Deru – Recommended (0:23)
2. Deru – Din (4:18)
3. Deru – Soulik (5:30)
4. Deru – Spot (0:23)
5. Deru – You Haunt Me (5:31)
6. Deru – Confused (0:30)
7. Deru – Safemode (3:15)
8. Tipper – Liquid Shoes (3:31)
9. Tipper – Ferlong (Si Begg Mix) (5:01)
10. Tipper – Multiplexus (4:56)
11. Tipper – Dissolve (Si Begg Mix) (7:07)

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UK Glitch v2 [week 1]

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(from wiki):

Ricardo Villalobos is a Chilean-German electronic music producer and DJ. He is well-known for his work in the minimal techno and microhouse genres, and is one of the most significant figures in today’s minimal techno scene.

Villalobos was born in Santiago, Chile in 1970.^[1] In 1973^[1] he moved to Germany with his family to escape the dictatorship of Augusto Pinochet,^[2] who had seized power that year.

When Ricardo was around 10 or 11 he started to play conga and bongos. Though he loved music, he could never see himself as a musician.^{[citation needed]} He began making electronic music in the late 80s. From a very young age he has been a big fan of Depeche Mode, even following their tours around Europe to listen to them.

Villalobos takes much of his inspiration from Depeche Mode, as well as other artists such as Daniel Miller, Thomas Melchior, Baby Ford, Daniel Bell and Andrew Weatherall. He has also taken inspiration from rhythmic South American music.

Villalobos began to play his music at parties while he was studying at university, but this was only for his own enjoyment. He started a label, Placid Flavour, in 1993 but this was unsuccessful. His first record was released on the German Playhouse label in 1994 and he began DJing as a professional in 1998.

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tracklistings:

Fabric 36 – Ricardo Villalobos
1 Ricardo Villalobos – Groove 1880 (1:30)
2 Ricardo Villalobos – Perc And Drums (3:22)
3 Ricardo Villalobos – Moongomery (6:07)
4 Ricardo Villalobos – Farenzer House (6:00)
5 Ricardo Villalobos & Patrick Ense – M.Bassy (2:26)
6 Ricardo Villalobos – Mecker (2:33)
7 Ricardo Villalobos & Jorge Gonzales – 4 Wheel Drive (5:30)
8 Ricardo Villalobos & Patrick Ense – Fizpatrick (6:30)
9 Ricardo Villalobos & Andrew Gillings – Andruic & Japan (12:30)
10 Ricardo Villalobos – Organic Tranceplant (1:00)
11 Ricardo Villalobos – Prevorent (2:00)
12 Ricardo Villalobos & Fumiya Tanaka – Fumiyandric 2 (2:30)
13 Ricardo Villalobos – Won’t You Tell Me (6:15)
14 Ricardo Villalobos – Primer Encuentro Latino-Americano (9:45)
15 Ricardo Villalobos – Chropuspel Zündung (6:15)

Richie Hawtin – Resident Advisor 4/08 mix
1- Cassino & Labén / Oliver Dodd – Elevators and Escalators – Addon
2- Dub Kult – Crypt – Curle Recordings
3- Danilo Vigorito – Alnitak (Dark Side) – Inside Orion Minimal Muzik
4- Click Box – Peek a Boo – Items & Things
5- John Conrad – Maxime Dangles
6- Aleph-1 – C A G 08.4s – iDEAL Recordings
7- Alex Under – Gris – CMYK
8- Johnny D – Tramodyssee – Oslo
9- J.Alter – Track 1
10- Gaiser – Ground 1.1
11- Acid Circus – Uncle Jak – Droid Recordings
12- Obtane – Tribute to Mandragora (Damon Wild Remix) – Synewave
13- Heron – Afterhour – Minisome
14- Hugo – Born To Bop – Claque Musique
15- Gel Abril – 200 Grams – Be As One
16- Moritz von Oswald – Watamu Beach – Desolat
17- Seuil – Dance – Minibar
18- Skoozbot – Two Over The Eight – Mindshake Records
19- Dan Berkson & James What – Reflections feat Robert Owens – Poker Flat
20- Rasmus Hedlund – Betoni – Resopal Schallware
21- Alva Noto – Haliod Xerrox Copy 1 – Raster-Noton
22- Nick Curly – On My Way (Ali Nasser Remix) – Supernature Records
23- Heron – The Way Home – Minisome
24- J.Alter – Track 2

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UK Techno – Week 5 * Hawtin/Villalobos

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April 2008 Pulse Sets! Yay!

April 2008 featured sets by B80, Miskate and Someone Else.

B80: http://www.myspace.com/boydmuzik

Miskate: http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=79130547

Someone Else: http://www.myspace.com/47584071

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April 2008 Pulse Sets!

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1. Jubilee Tracks – for review. Please let

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Part 1 = Akufen.

Real name: Marc Leclair
Born: in Montreal, Quebec
Performed As: Nefuka, Anna Kaufen, Horror Inc.
Genres: Electronica
Styles: Techno, Microhouse, Club/Dance

Since 1999, Akufen (Montreal’s Marc Leclair) has been amassing a thick stockpile of 12″ releases for labels like Perlon, Background, Traum, Oral, Trapez, and Force Inc. With influences ranging from Bootsy to Mancini to Moroder to Reich, Leclair’s productions veer from challenging experimental techno to pop-oriented micro-house. For most of the tracks on 2002’s My Way, his first full-length album for Force Inc., Leclair employed a technique he referred to as “microsampling.” Leclair would spend hours of each morning recording material from AM/FM dials and a shortwave, and he would then use those recordings as fodder for his productions, splicing seconds into minute fragments (consisting of voices, song snips, acoustic guitar flicks, and all sorts of unidentifiable moments) and applying them to danceable, hook-heavy house tracks. The anticipation for the album was increased significantly by a limited release of the album’s feature cut, “Deck the House,” a dazzling crazy-quilt of short-attention-span house dementia. Leclair has also recorded as Anna Kaufen and Nekufa.

Links:
http://www.discogs.com/artist/Akufen
http://www.forcedexposure.com/artists/akufen.html
http://www.myspace.com/akufenmixes

Part 2 = Richie Hawtin.

(from Resident Advisor)
Although he’s technically a Canadian, Richie Hawtin will forever be associated with putting his beloved Detroit on the dance music map. Along with fellow Detroit pioneer Carl Craig, Hawtin helped break the second wave of Detroit techno. From north of Detroit in Windsor, Ontario, Hawtin has been a DJ, a producer, a record label owner, and a flag-waver for the underground Detroit scene which is only now getting the respect it deserves in the United States. Hawtin started his career DJing at underground parties in clubs like Detroit’s Shelter. There he met his partner, John Acquaviva, and together they launched the influential Plus 8 Recordings label.

Hawtin created a unique techno sound, which is regarded as synonymous with the city of Detroit. That sound, electro house, is very minimal, yet highly danceable. He is known for his use of the Roland TB-303 bass machine and that sound has become inseparable from quality acid house and electro recordings. These days, Hawtin kicks around with a TR-909 drum machine. Hawtin signed a record deal with Nova Mute in 1993, and is considered a star in Europe, where he has enjoyed success with his project, Plastikman.

In 1994, rumor has it that Hawtin was scheduled to perform at a rave held inside the Brooklyn Bridge. Allegedly, while crossing the border from Canada, guards stopped him, assuming he was attempting to work illegally in the US due to the massive amount of equipment in his car. Supposedly he went home and recorded a set to DAT and shipped it to the promoters. To this day, no one can say for certain whether that headlining slot was live or on tape.

Today, he has gained the respect of a larger US audience. In May 2000, Hawtin performed at the first Detroit Electronic Festival alongside Derrick May, Juan Atkins and other techno masterminds. More than 200,000 people attended from all over the world.

Quickfacts:

Born: Banbury, England, June 4, 1970.

Emigrated to Windsor, Canada, aged nine.

Now resident: Berlin, since 2003.

First 12-inch release:’States of Mind’ (1990)

Mix albums: ‘Mixmag Live’ (1993), ‘XMIX3’with John Acquaviva (1994), ‘Decks, EFX & 909’ (1999), ‘DE9: Closer to the Edit’ (2001), ‘DE9: Transitions’ (2005)

Albums as Plastikman: ‘Sheet One’ (1993), ‘Musik’ (1994), ‘Consumed’ (1998), ‘Artifakts’ (1998), ‘Closer’ (2003)
Album as FUSE: ‘Dimension Intrusion’ (1992)

Links:
http://www.richiehawtin.com/
http://www.myspace.com/plasstikmaan
http://www.myspace.com/richiehawtin
http://www.plastikman.com/
http://www.m-nus.com/

Tracklist:

Richie Hawtin – At The After-Party

Bern – ‘Loann 1′ (Traum Music)
Dettinger – ‘Puma’ (Kompakt)
RG25 – ‘Tarism’ (M-Bass-Y Records)
Jeff Samuel – ‘Double Yum’ (Trapez)
Cosili – ‘Arschoppel’ (Statt Musik)
Jon Thomas – ‘Talking Machine’ (DBX vs Cabanne)
Gergestellt von Modomonomusik – ‘Sundesseisser’ (Ringel)
Janovosky vs. Scheben – ‘360 bd’ (Bruchsteucke)
Robag Wruhme – ‘Back 01′ (Musik Krause)
Berkovi vs. Ms. Kitten – ‘A2′ (White Label)
Serve – ‘Netzroller’ (Playmade)
Matthew Johnson – ‘A1′ (It Is What It Is)

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UK Techno – Week 4: Akufen/Hawtin

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DJ C & Zulu; “Gods & Robots”

1:  Exhibition Virtues (Hardcore Tonight Remix)
2:  Body Work
3:  Dear John
4:  Soundgun Emergency (DJ C Mix, ft. Aceyalone & Jah Orah)
5:  Gods & Robots
6:  Darling
7:  Animal Attraction
8:  Ransom The Senator (DJ C Mix)
9:  Darling (Ghislain Poirier Remix)
10: Body Work (Chrissy Murderbot’s Body Juke Refix)

A Mashit recording:
http://www.Mashit.com

CC & P (ASCAP) 2008 Jake Trussell (EOSS Music) & Dominique Rowland (303 DRPM)

http://www.DJ-C.com
http://www.ZuluMusic.net

Cover illustration by Bartek Karas:
http://www.Jeekoos.com

About The Album:

Wicked ragga vocalist Zulu comes together with dance-floor dominator DJ C to activate a next level sound you didn’t realize existed yet. The two began producing tracks together across the internet while DJ C was on the East Coast developing his Boston-bounce sound and Zulu was running things in the Chicago area. DJ C’s move to Chicago in 2007 made the duo an unstopable force as they continue to bust out blazing track after track.

This album brings together some of their vinyl singles which have continually sold out of the shops straight away, and have been getting heavy rotation from party DJs the world over. Add to that four brand new, previously unreleased tracks plus remixes by Ghislain Poirier and Chrissy Murderbot and you’ve got “Gods & Robots.”

DJ C:
Beat scholar, party scientist, ragga maniac, and remixer of singers from M.I.A. to Gregory Isaacs, DJ C continues to spread his fiercely eclectic gospel of crunkment, mashstep, ragga-bounce, and grime-hall across the land. HeÕs been pumping out a series of records on U.S., U.K., and Japanese labels including a remix of M.I.A.’s U.R.A.Q.T. for XL Recordings, as well as singles/remixes for Ninja Tune, Soul Jazz, Man Recordings, Shockout, Community Library, and his own Mashit imprint; sharing the groves in those slabs of vinyl with the likes of Sinden, Drop The Lime, Ghislain Poirier, The Bug, Kid606, Serj Tankian and many more. Back in Oct. ‘04 legendary BBC Radio 1 host John Peel chose Mashit as a “label of the month” and featured a DJ C mix of Mashit tracks. Since then his tunes have continued to evolve into ever-more devastating dance-floor monsters.

Zulu:
Producer, engineer and reggae singer, Zulu is an estabished solo artist as well as collaborator with Kool Keith, Aceyalone and more. He got his start as a producer of house and underground hip hop here in Chicago, but his Panamanian/Jamaican roots eventually brought him back to reggae, creating his own riddims from scratch and bringing a distinctly Panamanian perspective (his initial tracks were in both english and spanish, with a strong regaeton influence) but later focusing mainly on the Caribbean patois style and ruff dancehall delivery. Zulu’s international combinations, his timeless-yet-futuristic melodic sensibilities, his experience in all genres of dance music, and his raw talent make him one of the brightest up-and-comers on the dancehall scene today.

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DJ C & Zulu: “Gods & Robots”

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