Monday, November 27, 2006


Time for your weekly Viva Radio supplement, and as promised we're back to the technotastic sounds this week. Seeing as I did a little rant last week, I thought I'd do the same this time around. Think of it as your new releases roundup with a few nice surprises in there. Kicking things off we've got a hot exclusive from Bristol based producer October (you might have heard 'Tape' and 'There's A Glitch In My Soup' on here before). 'Homosapiens' is currently being courted by a few labels, so expect a proper version of this to be hitting the shelves of your local electronic emporium early on next year. A driving, deep, pulsing workout; it's a perfect set starter if you want to capture that moody late night vibe. For more info on Bristol's boy wonder, head over to his Myspace here.

We're big fans of Steve Barnes at TAPE HQ, and his latest Cosmic Sandwich offering is predictably excellent. Skittish percussion, mad effects, and a bumpin' bassline that'll wobble that dancefloor to the core. Following that we've got Will Saul, who's been busy this year sorting out his Simple label along with launching his new Aus imprint (check the two Sideshow releases and the My My single - pure quality). He's had his time to play the label boss, but now's his time to get working the floor again. The Isolee mix on the flip of 'Pause' is very enjoyable with it's warm synths and bubbling percussion, but it's the original that I'll be playing out with it's wonky Mathew Jonson-esque bassline and intricate drum loops.

Minilogue are responsible for one of the 12"s of the year with their emotive epic 'The Girl From Botany Bay'. and 'City Boy' is the choice cut from their Crosstown Rebels debut, 'Hitchhiker's Choice'. Imagine a Trentemoller production that has both the subtlety of his debut album and the power to level a floor, and you'll be nearly there. It's a far cry from '...Botany Bay' as far as its darker atmosphere is concerned, but still has all the twists and turns to keep you hooked.

Makossa & Megablast's 'Porque' is a slice of quirky arpeggiated tech house with a cross channel bassline to die for. If you want some sultry, spaced out business that'll keep everyone dancing then you've found what you're looking for. The other tracks on there are equally as impressive, especially the toughened up cosmic workout of 'Galaxy 82'.

After flitting between labels and pseudonyms like Colin Farrell does with the ladies, it's time for the Audiofly boys to pump some musical loving into Get Physical's roster. There's three solid tracks on there, but 'Are We There Yet?' is the one that does it for me with its hazy synth washes and rhythmic bleep action. Hell, the last couple minutes sound like a remix of their 'Full Of You' track as Sleeper Thief, but I'm definitely not complaining.

Next up is an alternative version of 'Angel' from Carl Craig. I don't really have to tell you how great this is, do I? Lush sleazy deepness that saves playing its trump card until the closing couple of minutes.

Bit of a bastard of a track, this one. An instrumental cover of an 80s classic, with a covered vocal of another 80s classic on top... Confused? Justus Kohncke's 2005 classic 'Timecode' was of course a version of Lipps Inc's 'How Long', and this version sees Swedish songstress Marit Bergman (pictured above) adding her svelte Madonna-esque tones to the mix. The song she fits over the top is of course 'Rent' by the Pet Shop Boys, and the two fit together perfectly to create an electro-pop masterpiece. I'm sure that I heard somewhere that someone had bootlegged Timecode with the original vocal from the Lipps Inc track - does anyone have a copy that they'd like to share?

Marcel Dettmann is an employee of the legendary Hard Wax record store, and with those credentials you'd be right to expect a lot from his records. A-side 'Quicksand' is fairly standard Berlin fare - a wonked out skeletal arrangement that's supplemented by all sorts of whooshing noises and a subtle two note bassline, but it's the B-side that provides much more interesting and satisfying results. 'Getaway' is underpinned by an eerily sublime chord sequence which provides the backdrop for Marcel's constantly building snare-heavy percussion. Trance inducing after hours magic, indeed.

When Simon Rigg played Villalobos' remix of Depeche Mode's 'The Sinner In Me' at our last Mutant Pop party, me and Mr Soft found ourselves dancing in rapture with our arms on each other's shoulders. Just imagine the scene... actually don't. It's not a pretty sight. Ricardo (pictured above right, sober as a judge of course)lends his usual sparse yet intricate percussive backing to Dave Gahan's very suitable vocal, dropping in a cheeky bassline before kicking things back in twice as hard. I'm sure that there's a cut up snippet of 'Laura Palmer's Theme' in there as well. Great stuff from Ricky that never gets boring throughout its 13 minute length.

Over the last couple of months it seems like every time that me and Puffin are fairly battered in the wee hours, we slap on 'Dirt Road And A Boat From Soundwave'. A Speicher classic from last year, it's arguably one of Mathew Jonson's finest works to date. It sort of makes you wish that Mathew worked with The Mole (pictured left) more often, but if you read our interview with MJ, you'd already be aware that this isn't really a possibility at the moment. If you missed this one, or just forgot about how stunning those twinkling chords and big fat bassline are, then here's your chance to catch up.

The latest Innervisions release sees them take a decidedly more nu-disco direction, but it's still of the level of quality that we've come to expect from Sonar Kollektiv's treasured offshoot. Think of Metro Area on speed and you're halfway to imagining what Chateau Flight's 'Baroque' is actually like...

Not usually known for their relicensing of old tracks, last month saw Playhouse reissue a track from Swiss post punkers Unknownmix. Losoul and Jahcoozi were on hand to provide the mixes, and it's Losoul's sped up edit that comes out on top. He's very faithful to the fantastic original's sound and structure, toughening the drums and giving it more of a dancefloor groove.

To finish off, we've got a DFA remix that's been floating around on white label for quite a while now (both Nightmoves' Matt Waites and Mock played it in their Mutant Pop sets to rapturous dancefloors). This time they've been chosen to rework shoegazing indie-poppers Captain. I actually quite liked the original (their other material is rubbish - avoid at all costs), but why have cotton when you can have the silky smoothness of the DFA's arpeggiated stylings? The plinking synth always reminds me of 'World In Motion' for some reason, but England's constant World Cup failures are forgotten as soon as that simply MASSIVE one note bassline enters the mix. It's used in a really interesting rhythmic style, and compliments the sharp echoed synth stab perfectly. Definitely one of the best mixes that they've put their name to this year.

Here's the full tracklisting and listening link:

TAPE Radio - Show #10: 'Technotastic'
1) October - Homosapiens // CD-R
2) Cosmic Sandwich - Battle Twig // My Best Friend
3) Will Saul - Pause // Simple
4) Minilogue - City Boy // Crosstown Rebels
5) Makossa & Megablast - Porque // G-Stone
6) Audiofly X - Are We There Yet? // Get Physical
7) Carl Craig - Angel (Japanese Mix) // Planet E
8) Marit Bergman vs. Justus Kohncke - Rentcode // CD-R
9) Marcel Dettmann - Getaway // Ostgut Ton
10) Depeche Mode - The Sinner In Me (Ricardo Villalobos Conclave Remix) // Mute
11) Mathew Jonson & The Mole - Dirt Road And A Boat From Soundwave // Kompakt Extra
12) Chateau Flight - Baroque // Innervisions
13) Unknownmix - The Siren (Losoul's Hot Edit) // Playhouse
14) Captain - Frontline (DFA Remix) // EMI

TAPE Radio - Show #10: 'Technotastic'

Apologies if all that writing's a bit shoddy - I knocked it off in a couple of hours, but I hope it gives you more of an idea about the tracks. The blog's been a bit barren of late apart from the radio show, but we've been busy boys playing with Shit Robot (pictured rocking it above) and The Juan Maclean last week. Cheers to the Monkey Knife Fight boys for having us down, and also cheers to the fantastic Al Dare and Microman for joining us on the wheels of steel. I didn't get to see too much of Juan, but I caught a good 45 minutes of Shit Robot's set and was heartily impressed by the man's selections and deft mixing. Particular highlights were Hug's 'The Happy Monster' and DJ Hell's remix of The Presets (if you'd passed this one over without listening to it like me then I recommend that you take a listen - no holds barred booming bass action, I tell you!), the former sending the crowd into a total frenzy like it should. Cheers to Marcus for sharing a chat and a cheeky smoke - the new LCD Soundsystem LP is 'amazing' apparently. But then he would say that, wouldn't he?

Tuesday, November 21, 2006

Is It The Next Song Yet?

Another Tuesday, another Viva show to deal with. In a moment of 'EUREKA!' style madness, I thought 'why choose twenty tunes when I can be lazy and just pick seven'? Seriously though, this week's show focuses on songs that show absolutely no respect for the traditions of song length (and no, there isn't anything from Ricardo 'vinyl just isn't big enough for me, man' Villalobos). First up we've got Tortoise (with David Pajo - woo!) with their pioneering kraut-tronic epic, 'Djed'. It's taken from their stunning 'Millions Now Living Will Never Die' LP which ranks up there as one of my favourite albums of all time, mainly because of this beauty that takes up the whole of the A-side. If you haven't heard this yet, then you're seriously missing out - get down to your local record shop and correct the error of your ways.

Then we go from 'kraut-tronic' to 'kralt-country' with the highlight from Wilco's 'A Ghost Is Born' LP (that said, 'Theologians' always makes me grin inanely like a mental patient on a cocktail of various uppers). I've threatened to play this in techno sets before and never got round to it - I'm not sure if that's a blessing in disguise, but surely that beefy classic rockin' riff will have people bouncing around like madmen if deployed at the right time, right?

Can are one of the masters of the long song (although they do short and sweet just as well), and it wouldn't really be fair to do a show like this without including one of their lengthier classics. I was watching their DVD round at Puffin's on Sunday, and I was frankly appalled to see bloody Noel Edmonds (to the uneducated, he's that impish bearded fool who unleashed the horror that was Mr Blobby on the world, and currrently presents Deal Or No Deal in his own inimitable 'I'm a smug git, me' fashion) introducing Can's 'I Want More' on some UK TV appearance. Truly bizarre. Anyway, I've chosen the last track from 'Future Days' - their final album with eccentric vocalist Damo Suzuki - a barmy balearic lilt at double speed that only Can are capable of.

Anyone that knows me fairly well will know how much I adore Talk Talk, especially their final three albums, and I very nearly chose the opening suite of their magical 'Spirit Of Eden' (yet another of my top albums of all time) to feature. Deciding against it due to the fact that it's actually three connecting songs, I plumped for the next best thing. 'New Grass' is taken from their final album, 'Laughing Stock', and showcases the band at the peak of their musical freedom and creativity. It always amazes me how they can make the saddest sounds suddenly flip into sparse motifs of melody that turn the whole piece into a defiant yet delicate heart-tugger that'll keep you coming back again and again to taste it's musical nectar.

Not surprisingly, good old GYBE! haven't been ignored, and the track featured is taken from their monolithic 'Lift Your Skinny Fists Like Antennas To Heaven!' double album from 2000. It's a feat that spawned many a tawdry imitation, and one that even they had trouble bettering (check their disappointing, jam heavy, warzone soundtrack that was 'Yanqui U.X.O.' for reference). 'Sleep' is undoubtedly the highlight of the record, and as you'd expect, it's a multi-sectioned, pseudo-apocalyptic affair. Opening with a mad old man's rant about how the streets just aren't safe anymore, it develops out into a bleak, lazily strummed guitar section accompanied by their trademark delayed guitar squall. When the frankly huge plodding drums finally hit, you get that slight respite from the ever building tension before the percussion gets increasingly aggressive, compounding the eerieness that's gone before into a juggernaut of locomotive melancholy. And that's just the first half! You might be thinking that all this intensity doesn't make for a particularly enjoyable listen, but it really is a masterpiece that conjures up countless powerful and visceral emotions that are bound to engage and enthrall. By the time that the lazy breakbeat comes in at the 18 minute point, I promise that you'll be in aural bliss.

Do I even have to mention anything about DFA synth wizards Delia Gonzales & Gavin Russom? The Carl Craig and DFA remixes (the less said about the forgettable Baby Ford one, the better) brought them to the dancefloor's attention, but I can't help feeling that their 'Days Of Mars' LP was one that recieved critical but not public acclaim. Lovely shimmering (almost) beatless workouts from start to finish; it should really spend a lot more time on your home platter than it probably does. 'Black Spring' is my choice pick from the album; pensive arpeggio heaven with a tactfully used bassline that's very close to what I imagine the 'brown note' to be.

Finishing things off we've got the band that will just never die, the legendary Sonic Youth. You've got to give props to any band that'll open their ranks to Jim O'Rourke, right? 'The Diamond Sea' closes their 1995 'Washing Machine' LP, and is a great example of the controlled havoc that they can produce when they're on top form. Yes, the last four minutes of feedback squall are a tad self indulgent, but I'll allow them that right after years of righteous rock'n'roll service. That said, their later material (Jim O'Rourke's debut LP with the band, 'Murray Street' in particular), focuses more on their exquisite grasp of melody and instrumental interplay and is well worth checking out if you're not into all that noisy bollocks. For list's sake (and you know how much we love our lists), here's my top five Sonic Youth LPs:

1) Daydream Nation
2) Murray Street
3) Sister
4) Goo
5) Washing Machine

Apologies about the hastily knocked off commentary this time around, but I promise that next time I'll be much lazier and won't even bother talking about the tracks at all! Here's the full tracklist and listening link:

TAPE Radio - Show #9: 'Is It The Next Song Yet?'
1) Tortoise - Djed // Thrill Jockey
2) Wilco - Spiders (Kidsmoke) // Nonesuch
3) Can - Bel Air // Spoon
4) Talk Talk - New Grass // Polydor
5) Godspeed You Black Emperor! - Sleep // Constellation
6) Delia Gonzales & Gavin Russom - Black Spring // DFA
7) Sonic Youth - The Diamond Sea // Geffen

TAPE Radio - Show #9: 'Is It The Next Song Yet?'

Friday, November 17, 2006

This is a local club for local DJs...

Next Thursday sees TAPE curate the second room at Monkey Knife Fight's DFA special down at Timbuk2, so I thought I'd give you a heads up about the people that we've chosen to join us in our mission to kick Shit Robot and The Juan Maclean's respective arses. First up we've got Crash resident Al Dare, who's been plying his trade in the Bristol club scene for a good few years know. He first started putting on nights at the Arc Bar three years back at his Mixed Business night, where the musical policy of 'there is no musical policy' stuck out like a supermodel in a leper colony in Bristol's then stale club scene. Crash is his indie-electro night with a difference, where he'll often be seen Abletoning the living fuck out of his own remixes whilst dancing in his trademark 'controlled flailing' style. Seriously - it has to be seen to be truly appreciated. Anyway, Al's been kind enough to donate a few of his edits to put up on here, so get downloading and ready your bedroom dance moves for the jackin' stylings of Al Dare.

The Futureheads - Worry About It Later (Al Dare Half Done Refix) // CD-R
If you thought the Switch mix of this was a little too straight up and boring, this is the mix for you. Short and sweet wonkiness is the order of the day in this admittedly half finished rejig. [EDIT: Someone seems to have taken offence to the fact that I didn't mention that this is a 'refix' of the Switch version. I sort of assumed people would know that, but there you go...]

Vandalism - Never Say Never (Al Dare Remix) // CD-R
Scuzzy electro-house with a sleazy yet cheeky vocal line. The farty bassline is absolutely massive and is sure to set the crowd off at the right sort of night.

Chromeo - Breathe (Al Dare Edit) // CD-R
Porno disco with an injection of silicone funk - I can definitely see Tim Sweeney really enjoying this.

Also on the bill is under_score resident Microman (cheers to under_score and Normalise's Luke Malcher for the comedy picture above), who can be seen down at Cosies laying down quality techno and getting the crowd into his trademark 'freak zone'. At the recent Sleeparchive show, our Micro played the most diverse set of all the DJs (Jackson's remix of M83 and Mr Oizo's 'Half An Edit' were just two of the many highlights) and we thought that he'd be the ideal choice to accompany us at MKF. He's also cutting his production teeth with 30hz (Vertical Sound) under the name Emptyset, and their first release is upcoming on the Future Days label sometime in the next couple of months. Here's an exclusive taster of both sides - techno that'll certainly have you in the 'freak zone' when you hear it out.

Emptyset - Acuphase (Clip) // Future Days
Emptyset - Resilient (Clip) // Future Days

Don't forget my good self and the Puffin, who'll be propping up the bill (and the bar...) with our usual wildstyling antics. If you haven't downloaded it already, make sure that you grab Puffin's dubstep mix below. Even if you think you might not be into the sound, I'm pretty sure that you'll be pleasantly surprised. Until then, have a good weekend, and if you're down at under_score (at Cosies on Portland Square) on Saturday night for the frankly stupendous Errorsmith (Smith'n'Hack/MMM) we'll see you there!

Errorsmith - 'Le Trilliardaire' mix

Thursday, November 16, 2006

Bound 4 Da Re(up)load

Just a quick heads up to say that after noticing a few comments requesting it, I've finally reuploaded my 'Tape Me Out (Part 2)' mix that was done last September. It's nice to know that people are still checking out the mixes, and of course, any comments are always appreciated! After all, I probably wouldn't be doing these if it wasn't for you lovely readers. So if you've been enjoying a particular mix at a house party (that's what they're sort of there for, eh?) or just pottering around the house, drop us a comment! Keep reading over the next couple of weeks to download our latest mix that me and t'Puffin have done for the Family night in Dublin that we'll be playing on Saturday December 9th. We hope to see all you Dubliners down there!

Richard Carnage - Tape Me Out (Part 2)
(for tracklisting see sidebar)

Wednesday, November 15, 2006

D Is For Disco, E Is For Dancing

It's that time of the week again - Viva mix time! Last week's joyously morose couple of hours went down really well, so I'm keeping the more relaxed home listening vibe going, albeit with a hint of four-to-the-floor action that'll have your feet wearing through the carpet. Things to look out for are yet another unreleased track from Quiet Village ('Days' featured in last week's show), new dubbed out goodness from Strategy and The Mole (as featured in my latest chart), and monged cosmic arpeggio madness from Joakim's forthcoming LP. There's a few interesting little oldies as well courtesy of Gary's Gang, Arthur Russell and Double (cheers to for the edit); whilst the noughties are covered with Erland Oye's collaboration with Morgan Geist, and John McEntire's (yes, him from Tortoise) remix of Spoon for those who missed them first time around.

TAPE Radio - Show #8: 'D Is For Disco, E Is For Dancing'
Gary's Gang - Showtime // CBS
Voyage - I Love You Dancer // Atlas
!!! - Take Ecstasy With Me // Warp
JAPE - Floating // Trust Me I'm A Thief
Lola - Wax the Van // Jump Street
Quiet Village - Negro // CD-R
Kalle, Magnus & Daniel - Hjul Meg Ut (Prins Thomas Diskomiks) // Full Pupp
Double - Naningo (Lexx Edit) // CD-R
Felix Laband - Whistling In Tongues (Todd Terje Remix) // Compost
The Mole - Jingover // Wagon Repair
Virgo - Free Yourself // Trax
Strategy - Fields of May // Orac
Moby Feat Debbie Harry - New York, New York (The Emperor Machine Extended Remix) // Mute
Spoon - I Turn My Camera On (John McEntire Remix) // Merge
Erlend Oye - Ghost Trains // Source
Henrik Schwarz - Imagination Limitation (Mix 1) // !K7
Minimal Compact - Nil Nil (Rub'n'Tug Remix) // Tigersushi
Joakim - Three Legged Lantern // Versatile

Show #8: 'D Is For Disco, E Is For Dancing'

Also, if you haven't done so yet, download Puffin's top notch dubstep mix that I put up earlier this week. Trust me - soon you'll be ditching your Burial LP and wobbling round your room to those wonky Doodlebug vibes. Soon we'll be unleashing the promo mix for Dublin that we mixed together - trust me when I say that it's an absolute belter! Here's a track that made the final cut which is taken from Alexi Delano & Xpansul's 'Intelligence Reframed' release. Expect off-kilter techno with a twist that was released on Hawtin's Plus 8 imprint a couple of months back.

Alexi Delano & Xpansul - Echolocation // Plus 8

Tuesday, November 14, 2006

Mix TAPE: Doodledub

So after the long wait, it's finally here - Puffin Jack's dubstep mix in its full, unadulterated glory. Here's a short description from the man himself:

"I spent ages (about 6 months!) trying to record a definitive dubstep mix for TAPE, and I wanted it to take in all the different aspects of the scene from the grimey side to the dubby stoner side, with a hint of breakstep too. As is often the case with these things, I spent ages trying to crack it but never getting it right. Then I realised it was probably better to just take a step back, build up a spliff, make a cup of tea, and just record how I would normally play. It's a tad wonky in places, but hey, have you seen Skream trying to mix? Exactly...."

Doodlebug (aka Puffin Jack) - 'Doodledub' Mix
1) Distance - Temptation // Tectonic
2) Shackleton - Hamas Rule // Skull Disco
3) DQ1 - Wear The Crown // Tectonic
4) D1 - Baboo // Road
5) Benga - Killers About // Planet Mu
6) Loefah - Rufage // DMZ
7) Gatekeeper - Tomb // Skull Disco
8) Geiom - How To Love // Berkane Sol
9) Mala - Left Leg Out // DMZ
10) Toastyboy - Skinny // Destructive
11) S.N.O. - Backyard Dub // Earwax
12) Plasticman - Be There Or Be Square // Terror Rhythm
13) Wizzbit - Old Skool // Road
14) Dub Child - Roll Dat Shit // Storming
15) Skream - Dutch Flowers // Tempa
16) Unknown // White
17) Pinch - Qawwali // Planet Mu

Doodlebug - 'Doodledub' mix

Thursday, November 09, 2006

TAPEd Conversation: Michael Mayer (Kompakt, Cologne)

Yo. As Carnage has briefly related in the post below, Friday night, TAPE's 2nd Birthday Party at the Arc Bar, was, as they say, jolly good fun. I caught less than I would've liked (i.e. none) of the Skull Juice boys' downstairs set, but have been told by all and sundry that they did the business, and upstairs le Rigg was in characteristically winning form. In an evening stuffed to the gills with embarassing behaviour from me, chief among has to be my clambering behind the decks as Simon played his last couple of songs, whooping and air-punching like the worst kind of senseless Gatecrasher kid, not to mention ashing all over the equipment with my flailing cig-hand. Tune of the night? Retardo's mix of Depeche Mode, or Simon's perfect placing of the Jungle Bros' 'I'll House You' acapella over Martin Buttrich's ' The less said about the afterhours, wherein I almost strangled Puffin's cat and crawled around on my hands and knees asking people if they were Jewish, the better. Let's leave it at a big, big thank you to Alex, Benedict and Simon for paying us a visit.

Monday, I experience one of the best nights out I've ever had, perhaps the best in London. Michael Mayer and Superpitcher played all night, for free, at Stink. The T-bar was at its well-mannered, freewheeling best, the atmosphere was, excuse the cliche, electrifying and the music was - well, you don't need me to tell you it damn near took the roof off. Sadly, being a working man these days (why do you think my posts have become so infrequent?), I couldn't stay to the end - but those who did assure me it just got better and better. Thank you, Michael and Axel, for restoring my faith in London clubland; and a further thank you to Michael for answering the questions I recently posed to him in the name of TAPE, which you can now read below....

It’s TAPE’s round – what are you drinking?

It’s a sad fact that I’m drinking only water. Wait – I’ll get myself something more tasty…

My friend once asked you the question, “Are you Michael Mayer?”. You replied, “I try to be”. This remains one of the coolest answers to a question I have ever heard. Do you use that line on everyone who asks?

No, I got some alternative ones like “No, are you?” or “For a 100 bucks I’ll be anyone you want me to be, babe.”

What makes Immer 2 different to other techno mixes/compilations?

There are no so-called futuristic motives, pics of sundowns on a mediterranean beach or naked women involved in the artwork. But the music is of a timeless beauty. Simply irresistible.

K2, Immer, Speicher, Kompakt Pop….do you think you’ve got enough sub-labels now?!

Yes, I’m collecting sub-marines now instead.

Speaking of which, what happened to the Immer imprint? Does this new mix CD herald some new vinyl (re)releases on that offshoot?

The Immer vinyl department might be the slowest branch of the Kompakt entity. Those people there take ages to select tracks, track down license holders and so on. Nowadays, it’s very difficult to find proper personnel… But yes, I heard there are some new releases lined up.

Which Kompakt record(s), apart from your own, are you most proud of?

Dettinger – Intershop, Markus Güntner – Regensburg, everything by Justus Köhncke’s and all the Pop Ambient releases.

As well as producing tracks solo, you’ve regularly worked with the likes of Tobias Thomas, Superpitcher and Reinhard Voigt. Do you prefer the collaborative process to being in the studio alone?

It keeps me awake if someone’s talking next to me. That’s better than drinking too much coffee when I’m alone.

What are your plans for Supermayer in 2007?

We’re trying to not put any pressure on us. For now it’s just about hanging out in our new studio, experimenting with new production techniques, studying Portugese red wine and talking about boy’s stuff. We’ll see what’s going to happen…

"It's just about hanging out in our new studio, experimenting with new production techniques, studying Portugese red wine and talking about boy's stuff..."

Do you plan to play live as Supermayer?

This is too early to say. But we’re both DJ’s from the heart and start. It’s difficult for me to imagine that I’d have to play the same 12 songs over and over again.

How would you describe the Kompakt sound/style? What do you think unites all the releases on your label?

Apart from the dots, I think that all Kompakt releases have a certain organic feel, some human touch. Even if 85% of our releases could be classified as tekno we managed to preserve a friendly, overall positive surface. But one day, we might drop our masks…

You have plans to release several LPs in 2007 – Hug, Justus, Gui Boratto etc – in the age of mp3 singles and playlists, do you still consider the ‘album’ format important?

We’re ignorant folks by nature. Seriously, we still believe in the cultural importance of the album. An artist should always get the opportunity to express him/herself beyond a-side expectations. This cherry-picking attitude under the cloak of modernity is born out of stinginess, it’s totally retarded and counterproductive.

Do you have any plans to follow up Touch?

Yes, it’s called Touchier. No release date scheduled yet.

How do you feel about Touch a couple of years on?

I’m not ashamed of having released it and I still like each and every track on it. “Touch” was a healthy and necessary move at the time. A spell was broken and I learned a lot from the whole process of its making – about myself and the others.

Stink in Ibiza was sadly shortlived. Any plans to try it again, at a different venue, next year?

No. I don’t think about starting anything new in Ibiza. The territories there are carved out. And hey… ever been on Mykonos? Ever had a summer party in Portugal? The world is full of terrific places to party. Ibiza is totally overrated. I had that notion long before Stink Ibiza died. Actually, I felt relieved when it was over.

How do you think your production style has changed over the years?

Don’t know…It certainly got more mature and a little wiser.

Which is better, ‘Barbie Girl’ by Aqua, or ‘Dr Jones’ by Aqua?

Shame on me! I don’t know ‘Dr Jones’. I’m downloading it right now (legally). But my favourite band in this very tradition are the Vengaboys.

"My favourite band in this tradition are the Vengaboys..."

How do you get that smooth, meaty, really distinctive bass sound that’s on most of your records? Or is it a secret?

By pure muscular strength!

What’s your favourite disco tune of all time?

Phew… that’s a difficult one! I guess I should take one I worship since my early childhood. Purists, please skip to the next questions. It’s Abba’s ‘Lay all your love on me’.

You’ve had the opportunity to remix your heroes – including electro-influenced/influencing Depeche Mode and Pet Shop Boys. If Glen Campbell’s estate asked you to remix ‘Wichita Lineman’, would you say yes?

Justus Köhncke and Johnny Cash already did the ultimate versions. With a bleeding heart, I’d say no.

If you weren’t a musician/working with music, what do you think you’d be doing?

I’d invent mind-boggling light effects for discotheques and breed French bulldogs.

There’s a big disco element to Immer 2, much more so than on the first Immer instalment. Are you pleased with disco’s return to prominence in the ‘dance underground’?

Oh, absolutely. I’m happy to see legions of true musicians producing fresh fodder for future generations of filter house boobies. Now seriously, I’ve always liked old and new music alike. The current flood of re-issues and edits give us late-born dance lovers the opportunity to discover this invincible treasure chest called disco. I’m down with its return. But I remain pretending to be a forward-thinking techno DJ.

Do you still get a lot of joy out of A&Ring?

Oh yes, it’s a bit like giving birth to children, I suppose. It can be as painful and as cheerful as that. No offense, dear female readers. I’m famous for lame metaphors like this.

What’s your favourite Bowie album?

That would be ‘Scary monsters’.

Who is honestly the greatest cook at Kompakt HQ?

That’s Charlotte. She’s our employed chef. Amongst the laymen I’d deserve the golden spoon. Sorry, Wolfgang.

What’s you favourite instrument/piece of kit/software for making music?

It’s an egg-shaped shaker for € 2.50.

Kompakt MP3 has been successful, and instrumental in a worldwide move towards MP3 purchasing/usage. I know you probably prize vinyl over all else, but what are your attitudes towards mp3/laptop DJing/consumption in general?

I’ll keep on carrying my vinyls around the globe as long as my spine is okay with doing that. So far, I use mp3 technology mainly for my private pleasure. Though, I’m going to put all my strength into because I want to earn on both ends: from selling vinyl or if vinyl dies I’ll still be earning from my mp3 shop. Some Canadian DJ’s inspired me to do so. Clever, neh?

I’m bored of my job and am looking to start a manufacturing company called Lovefood. My first planned product is Michael Mayonnaise. Do you want to be my business partner?

Sure, as long as it doesn’t involve any frivolous press pictures.

I saw you DJ at the Freezer in Benicassim last year; it was the first time I’d heard/seen you, and I was, er, enchanted, by your movements behinds the decks - what I now think of as The Mayer Dance – the flick of the wrist, the wiggle of the arse, the broad smile. Recently I’ve seen a load of DJs copying it, most recently one of the dudes out of M.A.N.D.Y. Would you consider legal action against these copyists?

I’m gonna smoke them out of their holes! Christ..!

Many thanks to Herr Mayer for taking the time to answer our questions and for laying waste to the myth of German humourlessness. An edited version of this interview will appear at some time in the not too distant.

Wednesday, November 08, 2006

November Spawned A Gurner

First things first, thanks to everyone who came out to Mutant Pop on Friday for TAPE's 2nd birthday celebrations. A good night was had by the assembled beauties, geeks, gurners (see below) and freaks (yet again, see below) and everyone played a blinder as usual. The Rigg started slow, but began his sprint finish an hour from the end with the beautiful Villalobos remix of Depeche Mode before getting the bangers out ('Vejer, 'Mouth To Mouth', 'Full Clip', 'Sea Of Sand', etc.) to ensure the upstairs crowd went home on a high. Downstairs, meanwhile, the Skull Juice boys were entertaining a decidedly less druggy crowd with an excellent set of diverse dancefloor destroyers. Highlights included the resurrection of 'Erotic Discourse' into Padded Cell's 'Signal Failure', that Wax record on Rebelone, and Richie Havens' 'Going Back To My Roots'; but there was so much more stuff that they played that I really enjoyed. So in the battle of the Phonica employees, I'd call it a score draw; the real winners being the Mutant Pop punters/munters (yes, you guessed it - see below!).
The after party was an even messier affair - it commenced with a set from 'that topless drug-ravaged middle-aged dude' who'd been 'dancing like a madman all night' at a TAPE night in 2005 (see here); otherwise known as Kev. Top bloke by the way, with excellent taste in techno. The Skull Juice boys also played their socks off as the rest of the room got even more ravaged, whilst the Rigg slipped off to bed early. I'd like to enlighten you further about its goings on but I'll leave Softy to tell you whatever he wants (or whatever he can remember...) concerning his outrageous behaviour. I've a fond memory of mixing XTC's 'It's Nearly Africa' out of some 4x4, and then ironically highlighting poor old Soft's state of body and mind with 'Senses Working Overtime'. Altogether now... '1, 2,3, 4, 5!'

Anyhow, there are a few nuggets of note to come this week - the main thing being Puffin Jack's dubstep mix that I've been promising for absolutely ages. I've finally got round to digitising it, so expect that in the next couple of days. He's even got a new moniker that's exclusively for his dubstep sets.... all will be revealed soon. In the meantime, here's a long overdue chart from yours truly.

Carnage's Current Top 10 (8/11/06)

1) OST & KJEX - HOW NOT TO BE A BISCUIT // CROSSTOWN REBELS A late night rave anthem if I ever heard one, this cut that's forthcoming on Crosstown Rebels will be sure to blow up when it touches down in the next couple of months. Featured on Lazarus and Styles' 'Get Lost' mix, it's an ominous beast of a track with a mammoth buzzing synth hook that's just as ridiculous as the title suggests, while your heart will be satisfied by the echoing bleeps that accompany it. Look forward to shaking your arms and legs like a mentalist to this in the coming months.

2) SEBO K - HORIZONS (EXERCISE ONE REMIX) & PAN POT - BLACK DOG (JESSE ROSE REMIXES) // MOBILEE Exercise One, it seems, are getting better and better with every production that they do. It they carry on at this rate, they'll have made all other minimal techno producers redundant by 2008! The ominous looped-not-looped pulsing bassline plugs away while all manner of sounds drift seamlessly in and out of the mix, before the punctuation is added by sporadic bursts of noise and the mammoth drop (which is preceded by a hiss that magically mutates into the 4x4 kick). Jesse Rose's bleepin' and bouncin' mixes of Pan Pot are also well worth a punt, making this one of the best 12"s that will see the light of day this November.

3) SIDESHOW - PHILLY SOUNDWORKS // AUS I absolutely adored the last 12" that Sideshow (aka Ninja Tune's Fink) put out on Aus, which was a wonderful synergy of all that's good about deep house, techno, and dubstep; and his latest release only goes to reinforce his versatility in the studio. A far cry from 'Scary Biscuits', this time he's plugging away at dub disco, with superb live bass and affected electronics. Jesse Rose and My My's Lee Jones provide the mixes, but it's all about the original over at TAPE towers.

4) ROBERT OWENS VS. ROB MELLO - THE ENERGY // DISCO 45 Plinky plonky future-Chicago from the Classic man on his latest imprint, helped along by the legand that is Robert Owens on vocals. Both versions are great but the dub's the one for the floor.

5) MICHOACAN - SHE'S SENT (HEAVEN) (THE EMPEROR MACHINE REMIX) // TINY STICKS T'machine does it again for Mock's ever consistent Tiny Sticks. A subdued discofied guitar at the start opens things out into a clattering stop start section before the otherworldly synths propel proceedings into the heavens. Those filtered synths are just pure filth, I tell you! The original and Fabrizio Mammarella mixes are also well worth checking - essential stuff!

6) STRATEGY - FIELDS OF MAY // ORAC Superb wonky slo-house from Community Library's Strategy on what may be his only release of 2006. If you heard last year's now classic 'World House' release that started off ComLib, then you know what to expect - pure quality from Paul Dickow yet again. It also features a cracking Secondo version that's slightly more jacked up and fidgety.

7) THE MOLE - JINGOVER // WAGON REPAIR Candido sampling dub disco on WR? Hell yeah!

8) MALA - LEFT LEG OUT // DMZ After the 4x4 vibes of 'Anti War Dub', the Mystikz' Mala goes further down that path with his latest bleep filled offering on the DMZ label. For me, he easily played the most engaging and enjoyable set at Pinch's last Subloaded party, and his productions are a testament to his greater understanding of all things bass.

9) WINGS - LET 'EM IN (JIMI BAZZOUKA EDIT) // WHITE Puffin regularly lambastes me for my irrational Macca hatred, and here comes another record that proves me wrong. A plodding drum beat and lethargic piano chords start proceedings before Macca croons away his heartwarming vocal about, well... letting people in! Cue the echoed drum fills, trumpet solo, and all manner of lovely little touches that make this the 9pm/9am classic that it is. Now Joakim, where's that new LP, eh?

10) TOMBOY - I KILL GUITAR // GOMMA A dark, ravey throbber from Whomadewho drummer Tomas Barfod in his Tomboy guise. It may not be a dancefloor killer of 'Samba'-esque proportions, but'll certainly drive the right late night crowd bananas.

Also, the Viva show that I was talking about last week has finally been broadcast and is in the archives so get over to if you wanted to check that out. Here's the tracklisting again for those too lazy to scroll down:

TAPE Radio - Show #7: 'I Wanna Be Sedated'
Wings - Let 'Em In (Joakim Edit) // White
Thomas Dolby - I Scare Myself // Parlophone
Can - She Brings The Rain // Spoon
Riz Ortolani - Cannibal Holocaust (Main Theme) // Coffin
Langley School Music Project - God Only Knows // Bar/None
The Velvet Underground - I'll Be Your Mirror // MGM
Scott Walker - On Your Own Again // Philips
Max Richter - On The Nature Of Daylight // 130701
Alain Kan - Speed My Speed // Disques Vogue
Asha Puthli - Space Talk // CBS
Chromatics - Physica (Demo) // CD-R
Vangelis - Ask The Mountains // EastWest
ISAN - Lent Et Douloureux // Morr Music
SCSI-9 - Mini // Kompakt
Turner - After Work (Carsten Jost Remix) // Ladomat 2000
Royksopp - Beautiful Day Without You (Wighnomy And Robag Wruhmes Spekkfakkel Remikks) // PIAS
ISAN - Lent Et Triste // Morr Music
Differnet (ft. Action Biker) - Albuquerque // Friendly Noise
ISAN - Lent Et Grave // Morr Music
Junior Boys - In The Morning (Alex Smoke Remix) // Domino
Pinch - Qawwali // Planet Mu
Rhythm & Sound w/ Willi Williams - See Mi Yah // Burial Mix
David Axelrod - The Warning Talk (Part II) // Capitol
Steve Reich & Pat Metheny - Electric Counterpoint // Nonesuch
Papa M - Plastic Energy Man // Drag City
Quiet Village - Days // CD-R

TAPE @ Viva - Show #7: I Wanna Be Sedated

By the way, this one's on a much more relaxed, non-dancefloor tip than usual; so skin up, sit back, and prepare for your dosage of thinking man's mogadon (I mean this in a good way of course!).

Thursday, November 02, 2006

'Twenty, Twenty, Twenty Four Hours To Go....'

Yes, the time is nigh for another instalment of your favourite uber-debauched club night, starring Phonica manager and honorary TAPEr Simon Rigg, and the lovely Skull Juice chaps who are residents at Bloggers Delight at the Lock Tavern, and their own Camberwell jaunt, Walk The Night. Top chaps, great taste, and we're sure that the night will end up being greater than the sum of its parts. Honestly, I'm more excited about this Mutant Pop than any that've been before, firstly due to it being TAPE's second birthday (woo!), and also having guests down that have a proven track record (see the tales of Simon's previous two TAPE appearances here) of smashing it out and making the assembled crowd freak like there's no tomorrow.

I've even been hearing stories that Ben from t'Juice (who also now works at Phonica) and the Rigg have been baiting each other with ideas on how they're going to trump each other in their battle for the dancefloor, and I hear that Simon's even planning on bringing a Freq Nasty record in his box... Eek! Whether he'll use it, only time will tell...
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