[Ostgut Ton]

On Panorama Bar 05, Steffi chose to showcase the smoother side of her DJing, a seductive and distinctly low-key journey that hinted at the long night ahead rather than plunging you straight into the action. Of the 16 tracks featured, six were exclusives, and this EP Ostgut showcases three of them. Much like the mix itself, a sense of adroit solidity graces proceedings here: two low-down rollers that echo Panorama Bar’s concrete commitment to the groove eternal, alongside one certified belter.

Cult U.S. favorites Fred P and Big Strick are natural choices for this series, and here both patrol ably the fertile border where purist house meets tripped-out cosmic funk. Fred P opens with “Project 05″ — all Tokyo rain and robot seduction. Bird call, hiss and shuffle, velvet synths, and off-kilter claps — all underpinned by his trademark hazy mastery of arrangement — leave you pleasantly disoriented. Juju & Jordash provide a bona fide anthem in the form of “A Stab in the Dark,” a track of total drive, leading towards truly golden horn stabs that punctuate an elaborate hat-and-clap pattern. The Studio 54 moon would no doubt grin and refill his spoon.

Big Strick does his easy-rolling, hallucinatory thing to fine effect on “Hayday,” a waking dream of a track that hinges on notably sparse percussive sections alongside gorgeous strings. It’s an effortless and seriously elegant turn from one of the most underrated producers around. The overwhelming feeling on this EP is one of laid-back quality; and while there is nothing revolutionary on display, that has never been the point with this series. These three tracks are low-lit builders one and all — the real thing.

[Crème Organization]

In terms of hidden Internet gems — of which there aren’t many remaining nowadays — William Burnett’s WTBS radio program ranks amongst the most rewarding. Two hours of confidently oscillating selections, the show appears every Monday at noon on Newtown Radio, and shortly thereafter on his W.T. Records’ SoundCloud page. Arriving on a day of the week where people are most susceptible to being disarmed, it aims to accomplish as much, moving amongst an unquantifiable spread of genres with the only unifying trait being their off color. In the context of Burnett’s own catalog, it makes sense. Burnett’s productions as Willie Burns only ever dealt in house, but that’s to use the term in its most cringe-inducing blanket sense. Almost always in the form of four- or five-track EPs, his releases play like compilations from various artists, whether for L.I.E.S., Trilogy Tapes, or Crème Organization, as expansive as the one before it. This most recent EP, again working with that latter Dutch imprint as Willie Burns, proves no different: four paranoia-tinged offerings, only united in their blithely off-hand composition.

Whether intentional or not, Run From The Sunset grows more tumultuous by the track, beginning bare and wrapping submerged. Dribbling out the gate, “Pong In A Tracksuit” is perhaps the most oddly appropriate song title of the year. A standard kick-clap pairing frames the background while an unhurried synth skims the top. Its only momentum is the result of that plop progressing from paced to double-time and still, every time that switch occurs the impact feels weighty within the surroundings. “No Answer” is sunroom trance, with any rigor alleviated from its loose-limbed construct. The builds drift until they burn themselves out, allowing the dial-toned bleeps to slide sleepily through. The title track plays like a weightier combo of the aforementioned thanks to the dampened drum programming. Though the least essential of the pack, it still bears an unyielding sense of dread. However fair the included components, there’s still a perched aura that things could spiral out of hand quickly, ideal fodder for the moment in a set just prior to when things actually do. And as previously mentioned, “Touch The Light” causes the most commotion of the bunch, by a wide margin. Eschewing any attempt at an intro, it emerges mid-headrush, with the cloaked drums serving as a faint reminder this is actually a track and not the sounds heard the moment before being stricken with a bout of vertigo. Given his free-form approach to seemingly everything, there’s no sense in attempting to qualify this release amongst Burnett’s prior oeuvre. It sure feels like he’s hitting a stride. But knowing him, it’ll be an entirely different stride come next Monday.

The last decade or so has seen the emergence of a pack of house artists from New York and its environs, namely Levon Vincent, Jus-Ed, Fred P, and DJ Qu (Anthony Parasole also deserves mention, if mostly as a DJ and personality). These artists came up in the city’s club scene and really honed their respective takes on dance music after the fact. All are now ubiquitous in discerning DJ sets the world over. New Jersey’s Joey Anderson is very much a part of this group, but his break has only arrived in the last year or so. In that time, he has released a slew of fantastic records, reducing house to its bare essentials while retaining an elusive, mystical sensibility. In advance of his performance at secretsundaze this Sunday, May 26th, LWE asked Anderson about his roots, his methods, and his future, which looks just as bright as his peers’.

If you don’t mind, I’d like to take it way back to start. Where did you grow up? What is your earliest musical memory?

I’m from a small, one square mile town called Hoboken, in Hudson County, New Jersey, 10 minutes from Manhattan by train. I guess my earliest music memory was hearing hip-hop outside and on radios.

What drew you to hip-hop?

Yeah, hip-hop was kinda the lifestyle we grew up in. I guess the attitude, fashion, language, and graffiti was kinda the norm. As a kid, besides athletics, everything was based around hip-hop culture.

You also started dancing in this period, right? From what I gather, your love of dancing has been steady throughout your life.

Yes. I’ve been dancing for most of my young and adult life. Kind of slowing down now I think, haha. My focus now is becoming better at my productions.

After hip-hop, you got into house. What drew you to house? Was there an immediate epiphany or were you listening to and dancing to both? Seems like there was a lot of cross-pollination between the two for a while. What were the differences between the two scenes?

From frequenting hip-hop parties looking for some dope dancers to check out, I saw this one dancer that stood out. I asked my friend, “What the hell is that?” My friend told me he was dancing house. This pushed me to check out more parties that played house music. [The] hip-hop scene I grew up in was [the time of] Run-DMC, Red Alert, Marley Marl. People were battling on the dance floor or getting into fights that would end the party. Later, [when] I went to house parties, it was like a breath of fresh air. The music was more worldly and terrestrial. Dancers seemed to bring more worldly skills to the floor. People dressed different, wore their hair different. I think the main difference between the two was how people expressed themselves.

What were the first house records you got into? How has your taste changed since then?

It was the early Chicago stuff. I’m still amazed at their creations. For me, it’s one of America’s newest creations of art in the music scheme. And it really hasn’t changed. I still look for the kick, hi-hats, drums, keys, and distant words, no matter if it’s coming from Berlin, New York, Japan, or Planet Jupiter.

What sort of parties were you dancing at in this time period? Can you describe progressing from just dancing, or maybe being a serious dancer but not a touring one, to the high level you ended up performing at?

In Manhattan there [were] many I would go to: The Tunnel, Wild Pitch, Ajax, The Octagon, Mars, Redzone, Sound Factory, Palladium, Limelight, The Choice, and a few others. I always was following where the dope dancers were. I feel I was blessed to witness some of the greatest innovators on the dance floor. I learned my foundational dance steps from watching and practicing. I never abandoned dancing and I kept trying to develop my skills. I never sought out to perform or give dance lessons. I was approached and asked to teach. From there that lead to performances.

When and how did you make the switch from dancing to DJing and producing?

Some years ago I started buying records just to collect. Later my friends, the Exchange Place crew — DJ Qu and David S — asked me to hang out with them to spin some records. I had no idea, but they had been meeting up playing records together for some time. I started playing records with them first and fell in love with the art. We all started meeting up regularly, playing new records we would get and having discussions over them. Fun times. Then I remember Qu saying he wanted to make tracks. I had no interest at the time to produce, but after I heard him play “Warrior Dance” in a car I quickly had a change of mind. Mad respect to Qu — he gave me the first software that started me playing around with production.

You definitely have your own style, but I would casually compare you to your associate DJ Qu, in the sense that your tracks both seem to get a lot out of a few elements. Is your gear limited to the essentials? How do you ensure that you don’t overload your tracks?

Well, I guess I aim for making a song out of a track, or at least I try. It does not really matter to me what’s missing or needs to be taken out. I use almost anything for making tracks. That’s the fun part.

They also strike me as quite carefully produced. What is your method like? Do you start with a particular element and just build and jam on top, or is it more planned out?

I have no particular method. I try to relay how I feel that day to a track. I picture what I would dance to in the creative sense of it. As a dancer, I don’t need beats to dance. Just a mental picture or a thought. I find these are always present when I begin working.

You’ve done a few remixes. It’s often a tricky thing for a producer to leave a personal stamp on a remix, but I think you’ve succeeded. The recent October remix in particular sounds like it could completely be one of your originals. How does your process for remixes differ from the process for your originals, if at all? Do you like doing them?

Thank you! Remixes are tough, I find, being that I don’t want to disrupt the original. I choose a part of the original I’m going to work with and try and add something about me to it. I try and keep his sound with my idea, kind of.

You also use a lot of vocals. What is the motivation behind those?

I love experimenting with words. It’s fun and can be a useful tool, if one is the unlimited ideas type.

On that note, “Table of Contents!” is the most direct track I’ve heard from you — owing to that vocal part — but also one of the jazziest and loosest musically. What’s the story behind that one? Do you think you’ll continue to incorporate this personal, narrative quality into your work?

I was a bit pissed off that day but was enjoying the groove. It is a bit loose and jazzy. Sometimes I will and sometimes I won’t [incorporate a narrative]. It depends if it will work.

On a more abstract tack, I sense a kind of earthy, organic quality about your tracks — in the sort of repetitive, ritualistic percussion, and even down to titles like, “Granite,” “Earth Calls,” “3200 BC House Dancer.” Any idea where that comes from?

I am a fan of ancient history, astronomy, and geology. It’s a part of me, so I make it part of my music.

Similarly, I was wondering about your relationship with your contemporaries, or the sort of tri-state-area scene you’re grouped with. Can you describe your relationship with — first and
foremost — DJ Qu, but also guys like Levon Vincent, Fred P., and Jus-Ed?

Qu is my boy/my friend first. We came up in the same scene together. But all the above share the same love, passion, and beauty about the music. Also they all experienced some of the old New York club scene as it used to be.

Beyond these producers, who would you consider to be your musical influences?

Larry Heard Larry Heard Larry Heard Larry Heard!

Listening to Organisms next to your more recent stuff, it sounds like you’ve grown more comfortable with your sound and your palette. Like for example, there’s a track on Organisms with an upfront acid line, which I haven’t heard you use since. Would you agree?

Organisms was special for me. It was my first release on Inimeg Records. Yeah, I don’t just like acid records, I like some of everything.

How is Inimeg going? What pushed you to start your own label?

Inimeg is good. Actually, INMR 003, Diagram Solutions, is in stores now. I started my own label as an outlet for my music. I’m blessed. I never in my life could conceive of this. But I had the guidance of good friends like Qu, Jus-Ed, and Anthony Parasole.

What’s next for you, release-wise, tour-wise, music-wise, personally, etc.?

As I said before, INMR003 has just come out. There is an EP with Absurd on their sub label called Avenue 66. I’m really excited about that. You have a beautiful remix by Vakula on there. A project with Annunaki Cartel called The Act of Speech. Also I’m currently working on my first album with Dekmantel, due out later in the year. Music-wise, I’m not sure — just keep creating. At the end of the month I will be at secretsundaze in London. Really pumped for that one! Stay deep and support art!

[MMM]

After over a decade spent operating at a near whisper, MMM seem to be hitting something of a stride recently. Fiedel has started unleashing some very good solo records and continues to play a strong role on Berghain’s residents roster, while Errorsmith has been reissuing some of his influential and much-loved DJ tools, which carry the same potency in 2013 as they did in 2003. The pair’s sixth record continues their run of spacious rave starters, but takes some of the cues from their incredible Shangaan Electro remix and results in the strongest MMM outing since “Donna.” “Que Barbaro” on the A-side pairs a skipping rhythm with earth-shaking subs and guitars that seem ripped right out of classic Smith N Hack records, doing the job you expect MMM records to do admirably.

MMM, “Casio Dub”

But the real reason you’re here is the incredible B-side. “Casio Dub” is easily the most relaxed thing the duo have ever done together, but rather than subvert the pair’s rave-y identity, it distills it into a potent, heady blend. The skipping rhythm is still there, but the bass line now operates in a near vacuum, accompanied solely by slowly modulating delayed guitar chords. Bass notes that would sound understated on Erik + Fiedel’s other records are crystal clear here, content to walk around and explore the space they’ve created. As opposed to past MMM records, the space here no longer reminds of the massive power plant of Berghain but instead of an open-air field, giving “Casio Dub” a sense of levity typically absent from MMM’s bigger-room tunes. It suits them well, and coupled with the quirky guitar licks of the A-side makes for a record sure to find a home in many a DJ’s bag this summer.

As in years past, Movement weekend 2013 has no shortage of off-festival entertainment options. Though several afterparties are still being announced, this year’s happenings offer nearly every type of event, venue, and style of dance music, featuring local talent, international guests, and everything in-between. Any festival-going veteran knows that calling these events “afterparties” is sort of a misnomer. Truthfully, you could enjoy top-notch music 24-hours a day, all weekend long, without setting foot in Hart Plaza for the festival itself. (Don’t make that rookie mistake — we actually DO recommend taking sporadic naps to sustain yourself.) LWE’s event list highlights the best of the fest’s afterparties and is not all-encompassing — you can check out movementafterparties.com for additional options. You’ll probably see us enjoying many of these parties, too. Keep checking back as more parties get added.

Friday:

+ Perc Trax Showcase
The Works (1846 Michigan Avenue) / 10pm-5am / $15 before midnight/$20 after
Perc
Mike Parker
Rrose
Jeff Derringer
Mick Finesse
John Templeton
Annie Hall
Kero
Segv
Appian

+ The Smart Bar/TV Lounge Movement Opening Party & BBQ!
TV Lounge (2548 Grand River Avenue) / 8pm-4am / $15 presales
Cassy
Derek Plaslaiko
Orchard Lounge
Nate Manic
The Black Madonna
Aran Daniels
Mister Joshooa
Mike Petrack

+ An Intimate Evening with Carl Craig
Motor City Wine (608 Woodward Ave) / 10pm-2am / $10 before midnight
Carl Craig

Saturday:

+ Direct Contact
Contemporary Art Institute Of Detroit (5141 Rosa Parks Boulevard) / 10pm-4am / $8
Big Strick
Wolf Eyes
Traag
Outmode
Craow
Haves and Thirds
Rat Paws

+ Circoloco Celebrates Arthur Russell
TV Lounge (2548 Grand River Avenue) /10am-2pm /$30 presales
Carl Craig
Ryan Crosson
Lee Curtiss
Andrew Grant
D’Julz
Ryan Elliott
Kim Ann Foxmann
Skream
NIROSTA STEEL with special guest James Duncan
Rick Wilhite
Derek Plaslaiko
System Of Survival
Gavin Herlihy
Boris Werner
Mass Prod
Robert James vs Richy Ahmed vs Russ Yallop
Mister Joshooa
Droog
Sasha Navarro
Cherry

+ NDATL presents Deep Detroit V.5
+ 1515 Broadway / 10pm-5am / $15 presales
Kyle Hall
Norm Talley
Kai Alcé

+ The Chosen Ones and The Chosen Few present You are Chosen
Waterfalls (673 Franklin Street) / 10pm-4am / $20 presales
Alton Miller
Stacey Hotwaxx Hale
Al Ester
Bruce Bailey
DJ Minx
Rick Wilhite
Alan King
Terry Hunter
Mike Dunn

+ CLR Detroit 2013
St. Andrew’s Hall (431 East Congress) / 10pm-4am / $30 presales
Chris Liebing
Marcel Dettmann b2b Radio Slave
Drumcell
Tommy Four Seven
Bryan Kasenic

Sunday:

+Urban Blue Print at Magic Stick
Magic Stick (4120-4140 Woodward Avenue) / 8pm-4am / $15 presales
Cassy
Buzz Goree
Dick Tracy
Alex Picone
Kitty Kitten
Spore Print
Eric Johnston
Abdul Haqq

+ Resolute Goes Detroit
Exodus Lounge (525 Monroe) / $15 presales/door tbd
Benjamin Damage
Camea
Thomas Muller
Elon
Stefny (live)
Taimur b2b Nadir
Connie

+ Still Music Presents: Stilove4Sunday
Motor City Wine (608 Woodward Avenue) / 8pm-2:30am / $10
Jerome Derradji
Basic Soul Unit
Ricardo Miranda – live
Bruce Ivery

+ Direct Contact 2.0
North End Studios (5101 Loraine Street) / 8pm-4am / $8
Manuel Gonzales
Jay Simon
BLK_OUT
Deastro
The Drum
Aphasiacs
Solid Liquid (live)
Psychic Western

+ Excursions: Detroit
Russell Industrial Center (1600 Clay Street) / $10 before 1am
Cordell Johnson
James Vincent
Marcellus Pittman
Uchikawa
Dj Taz
Jay Daniel

+ Dissolute
Steve’s Soul Food (1440 Franklin Street) / 7am-5am / $15-20 presales/door tbd
Daniel Bell
Jesse Saunders b2b Juan Atkins
Kooky Scientist (Live PA)
Miguel Campbell
D’Julz
Orchard Lounge
Sergio Santos
Monty Luke
Joshua Iz
Worthy
Atnarko
Czboogie
Tyrel Williams
Soul Mob
Autoclave
Walker Bernard
N’Dinga Gaba
Secrets
Michael Perry
DJ Psycho
Free Magic & Faso
Mathew Alex b2b Ted Barrie
Nikita
Aboudi Issa
Yos
Eric Sutter
The Elders
Henry Chow
Andrew Emil
David Cook
Nešto
No Headphones
J Mack
+Special Guests

+ IT & The Bunker present No Way Back at all
1515 Broadway / 11pm-9am / $20 presales
Erika (live)
BMG
Mike Servito
Carlos Souffront
Patrick Russell
Bryan Kasenic
Scott Zacharias

+ Interface 42 – Scene 10
The Works (1846 Michigan Avenue) / 10pm-7am / $25 presales/$30 door
Luke Slater
Silent Servant
Raíz
Project 313
Luis Flores
DJ Hyperactive
Rødhåd
Andrei Morant
Mike Gervais
Joel Morgan
Altstadt Echo
Derek Michael
Aaron Litschke
BN Loko Mendez

+ New Agenda and Dax present + OK, Cool
TV Lounge (2548 Grand River Avenue) / 9pm-1pm / $10 before midnight/$20 after
Michael Mayer
Jozif
Eddie C.
Mike Huckaby
Rick Wade
Burnski
Ataxia
Dan Wagner
Mr. Joshooa
Open Cloud
Bon
Soren
Minz
Dax Lee

+ Ghost in the Sound™
4264 Grand River Avenue / 9pm-7am / $20 presales /$25 door
Deepchord presents Echospace
JPLS (live)
Population One (live)
Nospectacle (live)
Woody McBride (live)
Steve Stoll (live)
The Flashbulb (live)
Memnok (live)
Paranormal Tek
Austin Churchill (live)
A#

Monday:

+ Klockworks Label Night
The Works (1846 Michigan Avenue) / 10pm-6am / $25 presales/$30 door
Ben Klock
DVS1
Recondite (live)
Patrice Scott
Aaron Clark
John Templeton
Delic
Jay Zoney (live)
JGarrett (live)
CK

+ Endgame
TV Lounge (2548 Grand River Avenue) / 12pm – 2am / $20 presales
Delano Smith
Three
D’Julz
Francis Harris
San Proper
Keith Worthy
Terrence Dixon (live)
Taimur Agha
Bob Moses
Ted Krisko
Jamie 326
NavboX
Karina
Jubilee
Sergio Santos
Max Jacobson

[Idle Hands]

Coming from a multicultural melting pot of Bristolian dance culture, house enthusiasts Outboxx have established themselves in short order, maturely brewing their easily recognizable sound. Equipped with rhythmic sensibility of Jacob Martin (alias Hodge) and Matthew Lambert’s keyboard skills, they’ve succeeded in forming an aesthetic of their own, combining big, warm bass with lush, synthesized melodies to create strangely familiar yet exuberantly fresh tunes. We’ve already heard them expand their style through several releases on Immerse Recordings, BRSTL, and Well Rounded Housing Project, but nowhere is their bold versatility displayed better than on the newest offering, their self-titled album on Idle Hands.

Spanning nine compositions, Outboxx largely remain in their sunset-lit territory of yearning vocal chants and echoes, but with each subsequent piece, their approach slightly changes. Opening song, “Home,” a nostalgic slow-burner, glides through dreamy pads and crackling background sequences and eventually introduces Naomi Jeremy, their long-time collaborator and apt vocalist. While the bass provides just enough bumpiness to make the ride worthwhile, Jeremy’s lyrics somehow don’t fully integrate into the template, despite her audible vocal effort. Similar mismatch happens in the soulful broken-beat piece “Lost Soul,” but this time her vocals outshine a limping, almost intentionally disjointed rhythmic flex. In the end, it’s the mournful, echoing synths that give both songs just enough cohesiveness to succeed. Listening to “All The Right Moves” and “Jaded,” it becomes obvious the Bristolians fare much better when extracting the sweet soul plasma of repetitive, disembodied vocals without definite semantic meaning. Freed from the anchor of Jeremy’s diction, a whirl of vocal snippets and uplifting melodies breathe much needed space into the album, still firmly positioned into gentle slow house tinkling. On paper, it seems like a fairly simple formula, but it’s only through their specific understanding and control of space that their melodies get poignant openings in the mix — and when they derive those motifs from classics, is when they get really anthemic results. “Sunshine Mills” effectively uses samples of New Edition’s “A Little Bit Of Love (Is All It Takes)” and turns it into a thrilling, driving piano-led, deep-house jam, sure to become one of this summer’s highlights.

The duo move away from their established style and focus on negative space in the latter portion of the album, adding dubby chords, distorted bass howls, and many textural details with slight sonic reference to their usual winning recipe. And surprisingly, it’s this last third of Outboxx when gets most exciting, with three compositions (“Thrashing Groovster,” “Withdrawal,” “My Destination”) almost completely lacking immediate hooks. This emptiness is no detriment, though. Through obvious and pervasive touches of delay and reverb, it allows the percussion to draw a distinctive, clattering signature in a crackling but sensuous environment. This move makes perfect sense since dub pervades everything on the album, and this final spacing-out essentially balances a well considered collection of quality tracks. It’s a thoroughly enjoyable listen from start to finish, revealing many cultural and sonic streams intersecting and flowing together. None of its pieces tries to be the newest or most memorable track on the block, and that’s why Outboxx is more than just the sum of its parts. With all its victories and slips, it is music that’s vital to understanding our present moment.

Releasing “Think About It” as Etat Solide on her own UK House Records in 1990, Kelli Hand became one of the first female producers of house and techno in the world. To avoid the confusion of origin that the label name created, Hand re-titled her imprint Acacia Records after a street in her hometown of Detroit. On Acacia she championed her own early work with Claude Young as Rhythm Foundation, her solo productions as K. Hand, as well as giving talents like Sean Deason and Wamdue Kids a home for their first releases. Continuing to also release on other labels around the world, she became the first artist to release an album on the lauded Studio !K7 label, and has gone on to release more than 50 singles and seven albums in a career that spans three decades. LWE tracked down Hand to find out more about her career, her formative influences, and what’s going on with Acacia Records. She also mixed our 161st exclusive podcast, which shows off her particular tastes and incredible skills on the decks.

LWE Podcast 161: K-HAND (90:44)

Tracklist:

01. Doruk Ozlen feat. Raquel Dwyer, “I Love You” (Doruk’s Bonus Tribal Drums) [Gotsoul Records]
02. Zoo Look feat. Amy Lyon, “Over Me” [Morris Audio]
03. K-Hand, “Love Games” (K-Hand Dub Mix) [Acacia]
04. Andy Rojas, “Talengue” [Vamos Music]
05. K-Hand, “Outta Yo Mind” [Third Ear Recordings]
06. Audiowhores, “Chains” [Noir Music]
07. J Paul Getto, “Different Folks” [Guesthouse Music]
08. Startraxx, “I Feel Nu Luv” [Mena Music]
09. Strokin, “Disc Jockey Snack” [white*]
10. Lauer & Canard feat. Max Williams, “Looks Like Love” [Porno Star Music]
11. Greg Stainer, “Keep It Real” (David Jones Mix) [Stained Music]
12. Miss Divine & Jon Kong, “No Grace” [Nocturnal Groove]
13. K-Hand, “Feel” (Original) [Acacia]
14. Adam Port, “Someone To Love” [Keinemusik]
15. Toby Montana & Dan Caster, “Mama Say” [Light My Fire]
16. Daniel Stefanik feat. Cassy, “Keep On” (Version II) [Cocoon Recordings]
17. Tale Of Us, “Another Earth” [M_nus]
18. Gonzak, “Rock Bend” [Bedroom Muzik]
19. Carl Cox V Yousef, “I Want You (Forever)” (Deadmau5 Remix) [Cr2 Records]
20. Rework, “Werewolf” (Magda Remix) [Meant Records]
21. Daniel Portman, “Something In The Air” [Unreleased Digital]
22. K-Hand, “Dusty” (Andrew Duke Remix) [Gorsch*]
23. Gaiser, “Some Slip” [M_nus]
24. Valentino Kanzyani, “Woodoo Samba” [Cadenza]
25. Adam Port, “Black Noise” [Cocoon Recordings]
* denotes tracks which, as of the time of publishing, are unreleased

What was it that originally made you want to be a DJ?

K-Hand: Frequenting the Paradise Garage and Shelter in New York back in the day.

Did you have any girlfriends doing it as well?

Saskia Ledgers (Miss Djax) and Queen Latifah, although she’s in a different genre.

And what was the moment where you decided to start producing your own tracks?

My moment began when I became a resident DJ in a small Detroit club. It was a good time to test our $50 acetates, ha!

Did you have anyone mentoring you at this stage?

As far as the club scene, the late Ken Collier. Derrick May was the first person I can remember asking a whole bunch of questions. Then later I was introduced to Mike Banks. I already knew Jeff Mills from a couple of residencies in Ann Arbor.

I understand that Jeff Mills had spoken to you about releasing on Axis or UR, but you chose instead to start your own label. What was your reason for doing this rather than having your first release out on an already established label?

Ha! Yes… that was so long ago, however, thinking back, I wanted to see exactly what the full process entailed in releasing my own first record.

I’m interested about the vocalist on a couple of your Etat Solide releases. Who was Zoey? It looks like those are the only records she performed on; do you know what happened to her?

Not sure what happened to Zoey. She probably still is walking down the streets of Acacia in Detroit waiting in line to record her next record. Etat Solide was the first release on my label… it’s still around.

Another of your early releases on Acacia was by Broad Mix Music. Was that an alias of yours?

Not at all, it was a company name I founded, at the time to use for forthcoming music projects collaborations, with other music and DJ producers based in Detroit.

Things have been quiet on the release front for Acacia for some years. Is the label still active?

We Just finished revamping Acacia to date, it’s all a continuation of bridging the gap. Everything is a work in progress, in progression.

I’ve read in other interviews that you got to experience the Paradise Garage in its hey-day. Since then have there been any particular clubs you felt had a similarly magic vibe?

Yes, that is correct, and ha, no similar vibe seen yet as I travel DJing the world. If I’ve missed something please send me a post of the name of the club.

You are one of the first female house and techno producers in the world. You’ve released a crazy amount of records in your career including seven albums. I can’t help but feel that you’ve been criminally overlooked. What are your thoughts on this?

Hahaha! Ray Charles and Stevie wonder can see this, also. As a business woman, multi-media artist, and DJ, I really haven’t even thought about it. Everyone will have their time when that time arrives. Perhaps this may have something to do with an over-saturated market?

Your Rhythm Formation project with Claude Young had some great releases. Tell me about the “Flash Back” track. Did Joey Beltram endorse this release?

Thank you, appreciate the compliment for myself and Claude! Nah, that “Flashback” track was something I was just playing around in my studio and it just so happened I came up with the same sound as Beltram — although it’s a great track of the “original original.” Nothing was pre-planned, endorsed, or planned for “Flashback” to my knowledge.

In terms of your studio, what gear were you using for your early releases, is that what your studio set-up like now?

An Atari computer, Casio keyboard, and a mixing board with amp. You can tell by some of the wonderful tinker sounds that came out of it. No way I am using same equipment these days, ha! I have updated some of everything and actually use different equipment for whatever I like to use. It’s kind of like a kid in a candy store for me, love new software, gadgets, and gear!

You featured on Jacob Korn’s track ‘Dance Away’ as a vocalist. Had you provided vocals on any of your own tracks before, or where you mostly using samples or other vocalists?

Yes, “Roots” on R&S records in Belgium, and a few others. New projects are in progress. I use my own voice, or grab a vocalist on the Acacia team.

What can you tell us about the mix you’ve put together for us?

Thank you for all your support! Really look forward to this podcast release on Little White Earbuds, hope you all enjoy! The first half of my mix is housey and the second part is minimal electro. I like to give a mixture of everything, for everyone’s listening pleasure to enjoy.

What can we expect from K-HAND over the next year?

Traveling touring, bridging the gap, work in progress, where progress is always work.

LWE’s 125th podcast comes from veteran producer and engineer Tobias Freund, who put together a far-reaching collection of influences and favorites that beams you directly into the mind of one of dance music’s most enduring players. Be sure to add it to your collection before it’s archived this Friday, May 24th.

[Hyperdub]

Hyperdub boss Steve Goodman’s first production outing since 2011 is as lone-standing as ever. Having followed Planet Mu’s lead recently in his DJ and label excursions into the world of footwork, this 12″ incorporates the blunt, technical syncopation of RP Boo, DJ Spinn, and of course DJ Rashad, the latter of whom rules the tracklist of Goodman’s recent contribution to Rinse’s mix series. The unnerving discordance in “Xingfu Lu”‘s 8-bit synth lead may be fed by an interest in Chinese musical scales, as suggested by the reference to a Shangai street in the title, but this could be a bit of a red herring, given how much it relates to the lo-fi scratch and buzz of past Hyperdub artist Quarta 330. The switch-ups and resets of footwork — developing later into a kind of scratched-CD hypnosis — correspond with the layered rhythms and varied timbres that Kode9′s beats have long utilized, not to mention the perfectly weighted sub-frequency propulsion below. As the producer’s work often does, “Xingfu Lu” wins you over on an almost-conceptual level, in that you become so enthralled by its implausibility and originality that you can’t resist going deep inside.

After you’ve finished forcing yourself to enjoy the nerdy and impractical A-side; “Kan” winds up and releases a scarily taut drum and sub attack that is far more true to footwork’s ideals. Kode9′s dubstep was often faster than almost anything else at the time, and here you realize his production really works at these exhilarating speeds. Heart-flutteringly tense strings co-ordinate with kicks that always seem to be outrunning your ears, and a medley of sound effects and percussive ingredients from inexplicable sources are equally worrying. In contrast to the first track, this is streamlined and effortlessly effective. Such a broad wrenching of various previously unconnected components shouldn’t — and obviously doesn’t — blend in the way we normally expect a mix of musical influences to, but Goodman has never tried to make his music sit still. In the feinting, velocity, and double-bluffing footfalls of the Chicago sound, he’s found yet another interesting chemical to introduce into his fizzingly exciting laboratory of genre-mashing, polyrhythmic weirdness.

[Clone Jack for Daze Series]

When it comes to Roman Flügel, imposing boundaries is a bad idea. Yes, the German’s music is always unmistakable in terms of timbre and melodic progression, but in recent years particularly, he’s built his very success on changing things up. He’s gifted us with gentle elegy (“How to Spread Lies”), raucous house freestyling (“Brasil”), affecting hip-hop (“Thank You Jack”), neon-powered funk (“Deo”) and rigid techno (“More Is Not Enough”). And then there’s his oddball collaborations with Ricardo Villalobos, and the scores of imaginative remixes. In short, not only can Flügel seemingly do whatever he sets his mind to, he regularly does set his mind to it; a point which eludes many as-capable artists. This month, the challenge is Even More, an entry for Serge’s Clone Jack For Daze venture. The series’ focus is narrow, encompassing just one single facet of Chicago house: “jack.” While this has resulted in work of undeniable quality (e.g. Legowelt’s The Paranormal Soul) and obviously has its place, in the case of Flügel, it seems more like a cage of sorts.

Perhaps that’s just my (obvious) admiration for Flügel coloring things. Or high expectations. After all, the series’ limits hasn’t stopped others from doing good work. Whatever the case, with their classic templates and arrow-straight progressions, both sides of this latest record prove forgettable. “Even More” has none of Flügel’s usual one-off flourishes. It doesn’t even sound sequenced, in fact. As a loop containing meaty Roland toms and niggling guitar advances and retreats, lengthens and shortens, stutters and starts, the image of an MPC or Maschine being manipulated comes far too easily to mind. Not that there’s anything wrong with a track made this way — it’s just that the loop is too simple and coarse to support the six-and-a-half minute play time. “More&More&More” suffers from similar issues, even as it replaces the guitar with an emphatic vocal. There are minor touches which work to remedy the situation — the particularly vibrant and Flügel-like timbre of the cowbell in the title track, for example. But viewed as a whole, Even More feels more like the work of a competent bedroom producer than the world-beating Roman Flügel we know and love.