Tuesday, October 31, 2006

I Wanna Be Cremated

Happy Halloween, TAPE readers! Sure, this means that loads of annoying kids will be knocking on your doors and begging for confectionary, but we've got a few seasonal treats for you which will hopefully make up for that slight inconvenience. First up we've got a Halloween mix from edit merchants of the moment, Quiet Village. Originally put together for one of their own Halloween parties, 'Fragments Of Fear' will be sure to raise a fright and a smile in equal measures and is a perfect soundtrack to your own celebrations tonight.

1) Intro
2) Goblin - Zombie
3) SSQ - Trash's Theme

4) Aphrodite's Child - Capture Of The Beast
5) Charles Manson - It's Coming Down Fast
6) John Carpenter - Reel 9
7) Susan Jacks - There's No Blood In Bone
8) Roger Webb Orchestra - Hammer House Of Horror
9) Pino Donaggio - Dead End
10) Fred Myrow - Mineshaft Chase
11) Ralph Lundstein - Horrorscope
12) Donald Rubenstein - Train Attack
13) Hot Blood - Soul Dracula
14) Blue Oyster Cult - Don't Fear The Reaper

15) Les Baxter - Necronomicon
16) Christopher Komeda - What Have You Done To Its Eye
17) Paul Ferris - Witchfinder General
18) Chico Hamilton - Repulsion
19) Jack Nitzsche - Iraq
20) Paul Giovanni And Magnet - Corn Riggs
21) John Cacavas - Satanic Rites Of Dracula
22) Anne Clark - Our Darkness
23) Goblin - Tenebre
24) Ennio Morricone - Humanity Pt. 3
25) John Carpenter - Main Theme From

Quiet Village - 'Fragments Of Fear' mix // Whatever We Want

Straying away from the Halloween theme for a second, but staying on a Quiet Village tip, we've got a couple of tracks from The Alan Parsons Project's 1978 'Pyramid' LP, and the first of these ('Voyager') contains a sample used in QV's 'Pillow Talk'. APP edits seem to be all the rage nowadays with a recent version of 'I-Robot' coming out, so you could do a lot worse than check out some of their better material if you see it floating around in your local charity shop's bargain bin. Or Soulseek of course!

The Alan Parsons Project - Voyager // Arista
The Alan Parsons Project - What Goes Up // Arista

Getting back to the spookiness, I'd like to draw your attentions to a new mix that's been made available on dubstep label Skull Disco's website. As you're probably already aware, we're big fans of SD's Shackleton here at TAPE, so when I discovered that this mix recorded by DubSTa (don't ask - I've no idea who he is) contains 19 tracks from one of dubstep's finest producers, of course I was going to get a little excited. Head over to Skull Disco's site and scare those pesky kids away with some frighteningly deep sub-bass action.

1) Stalker
2) Fumes
3) Out Of Order
4) Spell - Qwack (Shackleton Remix)
5) In The Next World
6) NDoki
7) Eat My Word
8) Majestic Visions
9) Make Me Cry
10) New Dawn
11) Tala Rasa
12) Blood On My Hands
13) I Want To Eat You
14) Tin Foil Sky
15) Massacre
16) Language Of The Beast
17) Naked
18) Limb By Limb
19) Savage Republic - When All Else Fails (Shackleton Remix)

Shackleton - Mixed By DubSTa // Skull Disco

To finish off our Halloween themed posting, here's a spooky TAPE favourite - Perlon style. I was watching Stephen King's Misery the other day and it reminded me of this wonky pop classic from a couple of years back. Stacatto strums meet sumptuous strings and brass, while the dreamy vocal floats over the top of the delicate percussive backing - simply delightful stuff. Even if you're not a big fan of the usual tripped out Perlon business, this should definitely satisfy your ears on this cold Autumn night.

Morane - Let Me Out (No There's Nobody In The Cellar Mix) // Perlon

Actually... there's more! Just a quick reminder that the weekly TAPE radio show will be broadcasting on Viva Radio today (at 1pm Tuesday & 2am Wednesday - that's GMT by the way), so get tuned in for a something different to the usual shenanigans. It's also archived, so if you want to access it that way, then go to the 'contributors' tab, then select 'Richard Carnage', and 4 shows will be there ready for you to digest. This week I thought that I'd give the dancefloor stuff a rest and give you a bit of aural valium. Relax your sorry arse, and get ready for a soothing trip encompassing horror soundtracks, kids being exploited, ambient and cosmic shizzle, dubstep, electronica, dub reggae, and plain old indie rock in standard and experimental guises. Oh... and some techno of course!

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

Also, as a little bonus I've got a couple of extra bits and bobs for download. As requested, here's an 80s nugget from The Passions that was a favourite of mine during my student years. The guitar sound on intro alone elevates it to classic status in my eyes. I recently discovered that there's a Dave Clarke mix of this that came out on DMC a while back. Does anyone have a copy that they'd like to share?

The Passions - I'm In Love With A German Filmstar // Polydor

Finally, here's a cover of Burt Bacharach's 'Walk On By' by disco legends D-Train. Fuck those X-Factor cretins - this is how you cover a standard with style.

D-Train - Walk On By // Epic

Also, don't forget about Mutant Pop this Friday at the Arc Bar, this month featuring guest appearances from Phonica head honcho Simon Rigg, and fellow bloggers Skull Juice. Full details can be found below for anyone interested.

Friday, October 27, 2006

This Is Mutant Pop II

Mutant Pop and Vayge resident Gareth Watkins has just provided the second addition to the 'This Is Mutant Pop' mix series (it didn't start like that, but we may as well now that we've got half of the Bristol based residents with one!), and it's a belting techno selection as usual from Herr Watkins. There will be a limited amount of these being given out on the night, so make sure that you make yourself heard if you want one!

1) Remote - Unknown (from Remote vol. 4) // White
2) Seph - Wooden // Phonocult
3) Dario Zenker - No More // Esperanza
4) Animatek - My Life For A Moog (Cosili Remix) // Motoguzzi
5) Miss Yetti - Sideways (Andre Kraml Remix) // Gold & Liebe Tonträger
6) Florian Meindl - 2nd Man On The Moon // Stil Vor Talent
7) Falko Brocksieper - Sonic Strahler // Tuning Spork
8) Wandler - K-Pott // Motoguzzi
9) Grindvik - Mnemonic // Illegal Stockholm
10) Larsson - Maximus // Traum
11) Rene Breitbarth - Heavy // Treibstoff
12) Kenny Leaven - Feeling Spicy // Traum
13) Superpitcher - Tonite // Kompakt

Gareth Watkins - This Is Mutant Pop

Wednesday, October 25, 2006

Guest TAPErs Mix: Arveene (Clampdown / Family)

If you live in Dublin, you'll definitely have heard of Arveene (pictured above rocking the minimal scarf). Rated as one of Ireland's top DJs, his dancefloor smashing sets have become stuff of legend, but It seems as if his English invasion has only just started. He was recently selected personally by Erol to play in the main room at his Bugged Out! anniversary show and has also scored a residency at Darren Emerson's Underwater parties. He's no stranger to rocking a crowd, however, as back on home turf he's supported luminaries ranging from DJ Premier to Daft Punk with his wildstyling antics, taking in everything from classic hip hop, dirty electro and indie disco classics. You never know - he just might be appearing in Bristol sometime soon...

1) Man Parrish - Hip Hop Be Bop (Paul Jackson Remix) // White
2) Robert Owens vs. Rob Mello - The Energy (No Ears Dub) // Disco 45
3) Zen-Kei - The Punisher // GSR
4) Marc Houle - Bay Of Figs // Minus
5) Mark & John - Pick Up The Phone // Pickadoll
6) Spiller - Jumbo // Nano
7) Putsch '79 - Doin It (Major Swellings Full Trommis Miks) // Clone
8) Audion - Mouth to Mouth // Spectral
9) Ichundu - Hey (Tiefschwarz Retouch) // Souvenir
10) Speaker Junk - Look What You've Done To Me (Mustapha 3000 Remix) // Speaker Junk
11) Mandy vs. Booka Shade - Body Language (Tocadisco Remix) // Apollo
12) Moby - Go (Trentemoller Remix) // Mute
13) MIA - XR 2 // XL
14) Johannes Heil - Warrior Of Light // Klang Elektronik

Arveene - Guest TAPErs Mix

Tuesday, October 24, 2006

Keep On Dancing

It's that time again - yes, we've got another instalment of top quality records to thrust into your clamouring ears. Starting off on a bit of a cosmic trip with recent cuts from good old Geisty (the b-side to his 'Most Of All' 12), Prins Thomas, and Sideshow's forthcoming track on Aus. The latter really is floating my boat at the moment with its driving live bassline and elegant electronics, and shows yet another side of his versatile production capabilities. It's not all brand spanking new, however, as we've got some hi-nrg wonk-pop from Heaven 17, an overlooked Isolee gem, banging electro-house in the form of Justin Robertson's Chicken Lips remix (a Mr Soft classic from back in ye olde Elbow Room days.... ah the memories...), and the first Spirit Catcher 12 amongst other bits and bobs. Other new stuff that's worth a punt is the phenomenal Exercise One remix of Sebo K that's forthcoming on Mobilee, and Rob Mello's collaboration with Chicago house legend Robert Owens. Mello (a legend in his own right over here at Tape) is currently working on co-writing and producing Owens' forthcoming artist album, so keep your eyes peeled for that in the coming months.

So what are you waiting
for? Press play, get on your feet, and keep on dancing! Also, for future reference, Tape transmits on Viva every Tuesday at both 8am & 9pm EST (that's 3am and 4pm for anyone living on GMT like me). Enjoy!

Viva Radio - Show #6: Keep On Dancing
Morgan Geist - Skyblue Pink // Environ
Prins Thomas - Fehrara // Full Pupp
Home Video - Penguin (Loving Hand Remix) // Defend
Sideshow - Philly Soundworks // Aus
Altz - Max Motion (Space Voice Yoshimi) // Zi-Koo
Orgue Electronique - Texas, Brooklyn & Heaven // Clone
Elmar Schubert - Fancy // Suxul
Chicken Lips - Do It Proper (Justin Robertson Remix) // Kingsize
Spirit Catcher - Dirty Circuit // Missive
Robert Owens vs Rob Mello - The Energy (No Ears Vocal) // Disco 45
Heaven 17 - (We Don't Need This) Fascist Groove Thang // Virgin
Phonique - 99 & A Half (I:Cube Remix) // Dessous
Isolee - Keep On Dancin' // Playhouse
Sebo K - Horizons (Exercise One's 'Sleepless In San Juan' Remix) // Mobilee
Tokyo Black Star - Blade Dancer (Beatless Version) // Innervisions
Kode 9 & Space Ape - 9 Samurai // Hyperdub
Kraftwerk - Pocket Calculator // EMI
Sydenham & Ferrer - Timbuktu (Ame Remix) // Ibadan
My My - Butterflies & Zebras // Aus

TAPE @ Viva - Show #6: Keep On Dancing

Friday, October 20, 2006

TAPEd Conversation: Cobblestone Jazz / Mathew Jonson

Mathew Jonson, to you at least, should require no introduction from me. Having pushed the boundaries of techno, both inwardly and outwardly, with his jaw-dropping releases in the last two years on labels like M-nus, Wagon Repair, Perlon and Itiswhatitis, 2006 has been another vintage for the Canadian legend - if you havent checked his 'Automatic'/'Beach Party' 12" as yet, shit's insane, you absolutely must. Still, Jonson's real peaks this year have come with his role in Cobblestone Jazz - a joint project with fellow Vancouverians Tyger Dhula and Danuel Tate. Cobblestone produced one of the summer's most devastating dancefloor tracks - the the formidable and aptly named 'Dump Truck', before following it right up with the recent 'India in Me' - a snake-charming, sensuous club monster that is instantly memorable and dangerously effective. In short, Cobblestone Jazz are shithot, and I was lucky enough to get an opportunity to ask Mathew some geeky questions about who they are and what they do....

It’s TAPE’s round. What are you drinking?
Guinness thanks.

Who and what is Cobblestone Jazz?
Cobblestone Jazz was formed by Danuel Tate and its members are myself, Danuel and Tyger Dhula. We focus largely on live performance and improvising at our shows. In the studio it’s much like on stage - improvisation to compose rather than sequencing everything. Danuel is mainly focused around the Rhodes piano and vocoder while Tyger works mostly percussion and atmospherics while helping program patches for Dan, and I do mostly basslines, simple drum programming, as well as mixing most of our stuff in the studio. In our live shows, me and Tyger have similar roles while Danuel focuses on keys.

Is there a precise reason for your name?
Our name was invented by a friend. Many different rocks in cobblestone symbolizing different facets to our music styles and personalities. It made sense.

"If I wasn't making electronic music, I would probably still be married..."

What would you be doing if you weren’t making electronic music?
I would probably still be married, snowboarding more and spending a lot of time at the beach. As for a job, I think I would go back to being a lifeguard on some remote island in the Mediterranean or South America. I’m sure I would have more time to get back into playing drums and piano again too. Might be nice.

OK, one of our readers wanted me to ask you about math, on account of your music making her think of fractions multiplying. Does math, be it in the practical or in the abstract, romantic sense, influence your music? Or do you fucking hate it and never think of it at all…?
Math is very much a part of all music for me. The use of polyrhythms for example is almost an exact definition of what your reader described it as - different instruments playing in different time signatures at the same time creating long phrases in music that repeat at certain points in the phrase. 4/4 over 6/8 for example at the same tempo. On the other side of that conversation is the idea of fractals as a musical term where frequency, phase and rhythm is changing in an infinite equation. The use of outboard analogue equipment makes this easy as no two bars are ever the same, as modulation of frequency and effect does not revolve in a loop as with much of the computer music composed today.

How would you say you approach music-making as Cobblestone Jazz, as opposed to as Mathew Jonson? I mean conceptually, rather than practically…
When Cobblestone Jazz and Modern Deep Left Quartet started playing together it was all about improvisation much like playing Jazz. Dan with Rhodes and vocoder, Tyger with MPC60 and TR707, the Mole a turntable and myself with SH-101, TR-909 and TR-606. Our instruments gave us the boundaries we needed to stay out of each other’s way, while at the same time the range of each instrument allowed the band to achieve a full sound. These days we tend to do a lot of switching roles in the studio but the live shows are much the same with the addition of computers. This way we can have some bed material written previously to ensure a good show without the lulls of always trying to make something new.
In making music on my own there is no real concept at all. I’ve always used music as a tool similar to meditation and self-reflection. It has been more for myself but recently the dancefloor as well…

You, Mathew, have probably THE most misspelled name in the history of electronic music. Does that piss you off?
No. It did in school but now I'm so used to it that it really doesn't bother me anymore. Funny thing is that my great grandparents actually changed their name to Jonson from Wiaroa. I guess with one hard-to-spell last name my parents thought they would play a bit of a trick on me by spelling my first name like it is too.

Do you personally have a jazz background of any kind?
I played drums in jazz bands when I was young, and now I just like to listen to it for the most part. But yes, I do have formal jazz training, if that’s what you mean. It makes playing with Danuel really fun as we can talk back and forth while we play on stage. Me on 101 and him on Rhodes or vocoder. When it comes to jazz though, Dan is the real master. He really blows my mind with how talented he is - and his real forte is playing keys, whereas mine is more electronic-based as of present.

What’s the best thing about Canada? Ever tempted to move to Europe?
For me, it’s really all about the nature here. In Vancouver you can go from the beach to the base of 3 different ski hills in 20 minutes. I'm looking to have an apartment in Europe in the new year, I hope. So many transatlantic flights are really starting to kill me. I will probably keep my place here in Vancouver for a while though too, as my band and family are here and I have a really nice studio in the loft I live in.

Why the flatcap? Why do you prefer ‘em to, say, baseball caps…
I was given this cap by my friend Zeke at the Soundwave Festival on Vancouver Island and it seems that it is impossible to loose. It just keeps on coming back. The others, like many wallets, cameras and phones have disappeared into to abyss of afterhour land...

"I was given this cap by my friend Zeke...It just keeps on coming back"

What was it like to play Montreux jazz festival? Do you feel like you fit into a long history or lineage of jazz? Would Miles have approved?
It was a real honor to play at such an important event. We play a lot of jazz festivals in Canada but Montreux is a whole new ball game. As for Miles, well, it’s his house so I hope we gave him the respect he deserves.

Do you feel more of a player than a producer when you record with Cobblestone Jazz? Is that a liberating feeling?
Yes, I think its because much of the time Dan and I play at the same time to get where we are going. Rather than when I produce on my own, where I play live keys to sequence a lot of the instruments but it’s just not the same. All music is liberating for me.

How does collaborating with Tyger and Danuel differ from, say, collaborating with Luciano?
Luciano and Tyger Dhula are more programmers than, lets say, Danuel and I - working with computer sequencers etc. It makes for a good match in the studio to have both programmers and musicians because it’s a different kind of work. Both collaborations are equally fun - and in the studio the menu is usually the same too.

How did Cobblestone Jazz come into being?
Danuel and Tyger had played together for a long time when we met as "Dante and Dhula". The Mole was also involved in the first group we had together under the name The Modern Deep Left Quartet. When we split up as a result of the 3 of them moving to Montreal and only Dan and Tyger returning (after a robbery that left them without a studio to work in), Cobblestone Jazz was formed. I wish in a lot of ways that we still had the Mole with us. Vancouver and Montreal are not so close, so it’s hard to work consistently on the original project.

Was it performing live that made you turn to using more outboard equipment and hardware in the studio, or was that always how you approached production anyway?
I started with really simple outboard synths and sequencers in 1986 and then moved gradually to computers for sequencing in the early 90s. It wasn't until ‘96 or ’97, I think, that I got really heavy into analogue equipment, as it took the influence of being close to people in the electronic scene to expose me to this gear. I didn't really know about raves or nightclubs until that time so I was much on my own. Now that I’m playing live more often, the outboard gear really makes a huge difference. Unfortunately, not all promoters can find what I need so sometimes I just rely on the drum machines and gear I can fit in my carry-on.

How do you handle the dialogue between digital and analogue tools?
I like the way that the two sit with each other in the mix. Layering the two kinds of sounds together makes for a lot of depth. Myself, I stick to analogue for bass and warm pads, while I use digital sounds to layer in between for texture.

Cobblestone Jazz improvise and record live, right? How live is live? How improvised can electronic music be?
If I can paint a picture for you, think of myself and Danuel playing keys and changing parameters on our gear at the same time while myself and Tyger are mixing and programming drums on the fly. That’s generally how it goes. Sometimes we’re programming in the headphones and cueing the drums and synths like you would a record if you were a DJ. All our mixes, and also my own solo tracks, are mixed from the desk straight to stereo tape. 90% is only edited at the start and end time. All the arrangement is done on the fly as the mix goes by - so we get a feel that sounds more like a band than something thought carefully about over time while sitting at the computer. Our mixes may not be as well produced sonically as other producers’ - we sacrifice that for the idea of giving the music more of a soul than a brain.

What’s your favorite club in the world, be it to party at or perform at?
I dont really have one right now but I certainly like clubs like Fabric, Cocoon, Spacelab Yellow, Underground, Goa, Lux, Weetamix etc.

"Fuck the records - if my shit's burning I would be running for my System 100m, SH-101 and my 808 as well as every hard drive I could stick down my shorts"

Your house is burning down (God forbid) and you have time/opportunity to rescue only three records. What would they be?
Fuck the records if my shit's burning I would be running for my System 100m, SH-101 and my 808 as well as every hard drive i could stick down my shorts.

One of our readers, Serginho, tells us that he once sat next to you on a bus, riding home from Sonar Night four years ago, not long after you’d put out ‘Alpine Rocket’. Apparently you had a little chat, and you told him that you were on your way to an afterparty, if you could find it. Serginho would like to know: Did you ever find that afterparty?
Yes. I was going to see Ricardo, Sven and Richie at La Terrazza and I found it. Good times!

Any interesting future plans for Cobblestone Jazz?
We have plans in the new year to write an album for Wagon Repair. And I’m not positive yet but I think on December 16th we will be playing at Fabric. Should be nice!!

I hear Wagon Repair have just got their own studio. Are you using it much? How’s that working out for you?
We have two, actually. One upstairs in my loft and the other at Open Studios, which Jesse (Loose Change) runs. I don't get in there as much as I would like with all this touring but I do have some time coming up. I really have the itch to write some new material. It’s been too long.

You’ll die happy when….
I know that my friends and family will be taken care of.

What are you trying to do with your music?
Express myself, make myself and others happy, and talk to the heavens with my feet firmly on the ground.

My heartfelt thanks for taking the time and consideration to give these answers, and my apologies for my somewhat repetitive line of questioning.

'India in Me' and 'Dump Truck' are both on Wagon Repair and available in all good record stores, and some shit ones, right now.

An edited version of this interview will appear in FACT magazine very soon.

P.S. I'm going to be having another TAPEd conversation (oh the puns, the puns) next week, this time with Kompakt maestro Michael Mayer. In addition to any comments you might have on the Cobblestone Q&A, if there's anything you'd like me to ask Herr Mayer, leave a comment in the usual way. Cheers.

Can you Rigg it?

Oi oi! It's time to start gearing up for next month's Mutant Pop madness! November will see us celebrate Tape's second birthday with style, and joining us will be the ever reliable Simon Rigg and blogging compadres Skull Juice. Here's the full info for all you west country mentalists...

Techno, Electro-house, Minimal
SIMON RIGG (Phonica Records / Bugged Out!)

Electro-house, Disco,Tech-house

His is the number that all self-respecting superstar DJs have on speed dial. And his is the name that underground house and techno producers aim to impress. And yet you probably haven’t heard of Simon Rigg….

Simon runs London’s Phonica Records – and for that reason alone is possibly THE most influential person in modern 4x4 music. In an era of closing record stores and the rise of digital music, Phonica has managed to go from strength to strength since its 2003 opening, developing into Europe’s pre-eminent vinyl destination with an unrivalled and diverse selection of cutting edge sounds and a customer base garnered from all corners of the globe – thanks largely to Simon’s ear for a good tune. He started off his employment working in Oxford Street’s Virgin Megastore (the world’s biggest record store, fact fans!), before he was approached by a wealthy backer who asked him to manage his new record store in Berwick Street, Soho. In 2001, Koobla Records was born, and only lasted two years before Simon jumped ship to start Phonica with his Koobla cohorts Heidi Van Den Amstel (who recently released her debut 12” and mix CD on Get Physical) and electronica giant Tom Relleen. It didnt take long for the record shop wars to end with an outright winner – Phonica, of course - as Koobla closed and Phonica went from strength to strength, launching its hugely successful website a year later.

Simon is more than just a trendsetter, however – he’s a spectacularly good DJ as well. His box is always packed with the most upfront tunes around (he gets everything first, you see), and he can effortlessly destroy a party – evidenced by his regular appearances at Bugged Out!, Fabric and residency at Berlin’s Weekend. You’ll often catch him playing with the likes of Tiefschwarz, DJ T, Locodice, and Andrew Weatherall smongst others. Anyone who caught him blowing the roof of TAPE’s birthday party last year, which saw the Elbow Room’s upstairs packed to bursting-point and a queue outside snaking up Park St, will know that his devastating and diverse sets of acidic electro-house and minimal techno are the stuff of clubbing legend.

As the TAPE crew celebrate two years of preaching the leftfield dancefloor gospel in Bristol, and Mutant Pop toasts its first year’s residency at the Arc Bar, this promises to be a night to remember as one of the true kings of electro-house returns to the wild West to finish what he started.

If you can't wait til then for some damn dirty TAPE action, then Puffin Jack will be taking his turn to have a busy DJing weekend with DJ performances at Zoo on Saturday (Dojo lounge), and at the sublime Sunday shakedown that is Normalise (at Hush Hush - just by the Arches on Gloucester Road). If you haven't been to the latter yet, then I recommend that you get your worn out, sorry arse down there to soothe your hangover with a deep disco and techno soundtrack that'll cure all ills. Well... maybe not all, but hair of the dog and all that, eh?

Thursday, October 19, 2006

Internal Memo (Leaked) - Shortlist of titles for Kode9's book

1. Tess of the Dubbervilles
2. Last Exit to Croydon
3. The Kode9 of the Woofers
4. The Un-Burial Lightness of Being
5. The Da Vinci Kode9
6. Grime & Punishment

----END OF MEMO----

Wednesday, October 18, 2006

Four reasons that the world (pictured) is fucking insane and we're all going to die in a terrible hail of cultural entropy and hellfire

1. Justice have remixed Britney. Check her myspace (what? she's not in your 'Top Friends' list?) for a listen.

2. As Carnage has already pointed out, LCD Soundsystem has recorded a 45+min long track for Nike, intended to soundtrack the ultimate jog/distance run. I'm not sure what's more shocking; its corporate origins (according to Pitchfork, this is "not LCD's first foray into corporate sponsorship, having hawked videogame consoles on the Dualplay Playstation tour last fall", though geniuses of DFA proportions should perhaps be indulged), the fact that itunes are charging $9.99 for it, or that jowly James Murphy claims to exercise regularly.

3. As you already know, Soulwax have remixed Robbie Williams. You know, I've got an extreme soft spot for the Dewaele brothers, and Robbie's 'Angels' is extremely close to Soft's palpitating heart (on account of it playing at a school disco when I was twelve as I danced with what I thought then to be the most beautiful girl I'd ever seen, my friend Giles' cousin. She was American; I don't think she realized what a little weirdo I was...). I mean, Robbie is arguably better than Soulwax...(no comments please). But do we need a Soulwax remix of Robbie? No. Look at it this way: do we need a Robbie mix of Soulwax? No. So why should it work the other way?

4. Kode9 is writing a book of dubwise philosophy and conspiracy theories; rumours that he also ghostwrote Totally Frank: The Frank Lampard Story are as yet unconfirmed.

Tuesday, October 17, 2006


God, have there been some tiptop tunes coming out in recent weeks or what? For once I'm going to dispense with my usual solipsistic musings and talk plainly, in so far as I can, about what my ears have been cocked to of late....First up, although we've all been digging it for ages, that 'India in Me' by Cobblestone Jazz. Though Audion’s ‘Mouth 2 Mouth’ gives it a decent run for its money, ‘India in Me’ – released on Wagon Repair, arguably the most consistently original and effective label out there – has been THE heavyweight club anthem this autumn, and its creators, them clever Canucks Cobblestone Jazz, one of 2006’s hottest properties. The brilliance of ‘India in Me’ is all the more startling for the fact that it follows hot on the heels of ‘Dump Truck’ – another bona fide classic from the Cobblestone stable, and stylistically a totally different beast to the proggy monster in question. No, wait. The REALLY startling thing about ‘India in Me’ is the fact that it was improvised straight-to-tape, using outboard equipment only. Mere mortals like me can only wonder how such a feat is possible; our time is probably better spent popping this 12" on the turntable (the A-side mix is more ponderous, the B-side trackier and more club-ready), cranking it up, and marvelling open-mouthed at the talents of Mathew Jonson, Tyger Dhula and the other guy whose name, quite rudely, escapes me. Warped, pinging, sonar-like noises herald the arrival of a faintly Eastern-sounding minor-key progression, but it’s the heavy bass bumps and sleek snares (straight outta ‘Marionette’) that take this tune to the next level. What to say? If you haven’t heard this record, well, your life must be pretty shit. Sort it out. And instead of giving £7.99 to some talentless minimalist schmuck whose name you can’t pronounce, give it to these crackpot sound scientists. Dubby, proggy, psychedelic, functional, experimental – what more do you want? This is heads-down shit of the highest order. Look out for our interview with Mathew Jonson, landing on this site very soon indeed, just as soon as the man takes five minutes out of making obscenely shithot records.

If you’d asked me a few weeks ago if I wanted another techno mix CD, I would’ve hit you and told you to fuck off. But I’ve found myself making exceptions this month. First up, the don Michael Mayer, who breaks a bit of a quiet spell release-wise with the sequel to his still-fresh-sounding Immer comp (Kompakt). Well, as anyone with a spot of German will know, ‘immer’ means always – and Mayer, on this CD, just as the last – is true to his word. Though some of the tracks here are pretty obscure (what’s the point in a comp if you know everything on it?), there’s nothing on here that doesn’t sound pretty timeless, or at least hold up to fairly heavy scrutiny – and there are a few curveballs, e.g. Terje’s colossal mix of ‘Another Station’,that fit perfectly in the mix while quietly reinforcing the fact that this is not a selection for militant ketaminimalist swine. SCSI-9 and Justus Kohncke make welcome appearances (I can’t believe I failed to register previously quite how phenomenal ‘Advance’ is - the way that guitarry disco chug gives way to those trancey builds and I, for one, feel like I'm going to implode...), and the epic ’18 Years’ from Crowdpleaser & St Plomb (surely one of the tunes of the year and a Carnage fave to boot) launches things into those giddy stratospheres we all love to float around sometimes. What binds the album together, quite apart from Mayer’s skill at weaving a musical narrative, is the fact that every track and/or transition has that quintessential Kompakt lushness, all in the pads and washes of ambient synth, like a fucking welcome tongue in your ear. And, of course, Mayer’s DJing style is refreshing in a climate of quick cuts and micro-editing – he lets every track play almost to completion before smoothly bringing in the next, spot-on harmonics n'all. If you buy one mix CD this autumn, make it this one. Actually, if you do buy only one mix album this autumn, better make it Alex Smoke's new mix CD on Soma. It can’t be easy stepping up to lay down the third installment for the pretty heavyweight Sci:Fi:Hi:Fi series, especially Ewan Pearson and Luciano have delivered the preceding two chapters. A bit like hooking up with a girl whose past boyfriends include Brad Pitt and Hugh Grant, or something. Still, perma-tracksuited Alex Menzies is a talented motherfucker in his own right, and acquits himself here admirably - taking us on a nocturnal tour around the grubbier backstreets of post-rave dance music, where the ghosts of Detroit (Model 500) mingle with dubstep’s doomy portents (Burial) and Basic Channel’s hydroponic house before giving way to sinewy, roughneck minimalism from the likes of Troy Pierce, Gaiser and Smoke himself. Recorded live using (predominantly) vinyl, this is a masterclass in sustaining mood and power even as you dart between genre, era and speed. If you’re into the dubbier side of techno, this CD will make you cream your pants – no question. Smile-inducing anthem of the month has been, for me, Dibaya's 'The Truth-Blending Consortium', on Plong!. Plong! is not a label I’ve kept up with in the last couple of years – have they even released anything since Le Dust Sucker’s so-rubbish-it-was-actually-quite-good ‘Meanboy’? Well, who cares, because Dibaya, who has previously recorded for Gigolos, has come up with an effervescent banger that’ll put some life in any box suffering from skeletal-groove syndrome. Garish, loud and spectacularly unsubtle in the way that all good 2003 house records were, this would not get away with its own silliness if it wasn’t driven by the most charming and unforgettable riff I’ve heard in a FUCKING long time. I talk all the time about hooks, but seriously, Dibaya is like the Crocodile Dundee of electro to me now ("You call that a hook? THIS is a hook"). Not one for the tokers or chin-strokers but definitely worth checking out – joyful, unabashed and, above all else, completely retarded. Next up, a double CD package from Bristol’s finest, DJ Pinch. The first disc assembles, unmixed, the finest tracks to have emerged thusfar on the Tectonic imprint – including Skream’s devastating, anthemic ‘Bahl Fwd’ – the one with the breakneck tabla line that could launch a thousand ships. Distance, Loefah, Mark One, Hijack all make welcome appearances. Meanwhile, on the second disc, Pinch goes way deep with a painstakingly processed mix that takes in newbies and exclusives from fresh talent and dubstep’s most high-ranking commandos. If you’ve been hearing about dubstep this, dubstep that, and don’t know what the fuss is about, buy this and you’ll understand. If you’re already switched on to the sounds, well, you know what to expect – the business, basically. Well, taking the same format, but very different musical tack to the Tectonic CD, is the new compilation from Anja Schneider’s Mobilee Records. Handily for all us cheapskate DJs out there, this release basically collects Mobilee’s hottest catalogue shots and lines them up, unmixed and ready for downing. If you’ve been up a really crap tree for the last year-and-a-half and haven’t yet feasted your ears upon Schneider & Sebo K’s ‘Rancho Relaxo’, well, Jesus, stop reading this nonsense and get shopping - it's a stone cold Cologne classic. Also on Back2Back you'll find Prosumer & Sebo K's deep-deep-deep, Detroit-indebted 'Moved' and, as I say, a fuckload of remixes and tracks by the likes of Pan-Pot and Gummizh. A lot of is take-it-or-leave-it material, but still, the hits kind of justify the misses. Two tunes out on Crosstown Rebels in recent weeks. First up DJ Silversurfer's 'Ace of Spades' which, if I'm honest, I thought was dated, electro-house-by-numbers tosh until I heard it out at the weekend, whereupon its catchy riffage and dumb slow-motion breakdown sent my booze-bathed brain aspinning. I still haven't made up my mind; but, while it's not all that tasteful, fuck it, I'm humming it under my breath as I write this, so it must have something going for it...Also, Mlle Caro & Franck Garcia's 'Far Away' which has been doing the rounds for AGES, but finally appears, with minimal fanfare, backed by that spidery Mathew Jonson mix (which has divided opinion: I hear Smagghe and Pearson rate it as Jono's best work, but others are less convinced...) and the more up-for-it, straightforwardly narcy version by Jennifer Cardini and Shonky. For me, it's worth your dollar primarily for the original - tight, wistful electro-pop that proves Crosstown will always take a worthwhile punt on a vocal track ('Speechless', 'Safari', etc). Oh shit, there's more Crosstown. Latex's 'The Porcupine' on Rebelone. I assume this is by Locodice (I haven't bothered to confirm either way) and, frankly, it's the kind of epic deepness only a fool would argue with. Like Martin Buttrich's mighty 'Full Clip' on Planet E, you kind of have to give yourself over to it, lock into the groove in order to fall under the spell. What about that Buttrich tune, eh? Fuck. I'd more or less completely ignored it til it popped on my headphones as I rode the tube the other day, and had my mind blown accordingly. It's all in the snapclaps, I tell you, which is also true of Gabriel Ananda's latest smasher, a remix of 'Kookaburra' by Thomas P Heckmann and Andreas Kauffelt on AFU Limited. As if you needed proof, after 'Lauschgoldengel' and 'Doppelwhipper', that this guy's a total fucking talent, you get it here - a sticky, tribalist workout that really is Michelin-starred food for the minimal-inclined stomach. Also big at the moment is Guy Gerber's 'Sea of Sands', put out by Cocoon and kind of straddling that line between proggy yawnfest and absolute classic. Right now, the twinkly piano motif is proving pretty addictive, but I'm not sure we'll be talking of this tune in hallowed tones come next year. But fair play, it works, and it's got a great sleeve, so....Oh lord, who on earth would've imagined Hot Chip remixing Booka Shade, especially 'Darko' of all tunes? Who would've wanted to imagine it? I get more terrified and excited at these kinds of zeitgeisty pairings (who remembers Noel Gallagher's remix of Beck back in the day?), so I'll reserve judgement on this til I calm down. The 'Shade also provide their own 'Funk Da Funk' version of the track, which is all cool, but I mean, really, what are they doing it calling it 'Funk Da Funk'?? I know you're German guys, but come on, it's turns of phrase like that which stop me answering 'techno' when a girl asks what music I'm into. Don't forget Axel Bartsch's latest offering for Kompakt's Speicher series - after a few dishwatery 12"s on the offshoot, and the rise of K2 (where the hell is that right now?), Speicher's stock seems to have fallen over the course of 2007, but don't let perception overrule fact - the Sportclub boss's new tracks are thoughtful and fearsome and highly worthy of your attention. From Kompakt sublime to Kompakt ridiculous, as the irrepressible Rex The Dog returns to the fray like a, well, like a big, dumb dog eagerly licking your face. The thing is, Rex's productions are so deliberately and unashamedly coarse, it's counterproductive to criticize them too much on those grounds. The tracks on 'Maximize' are definitely worth hearing but, I wouldn't play 'em out. Would you? It's a toughie, 'cos one can only ever dimly estimate how far one's perceptions are governed by pretention. Blah. Anyway, you know what to expect, extremely chunky production that'll go down like a treat, or like dogfood, depending on where your tastes, and your dancefloor's, lie. Craig Richards will not be playing it on Saturday. What else? Fucking hell, there's so much. Jimpster's recent productions have been sweet, and that jacking mix of Deepchild (fucking hell, first 'Funk Da Funk', now 'Deepchild' - why oh why?) under his Audiomontage guise, with its rolling sub and hectic clicks, is pretty irresistible. Lindstrom's 'Contemporary Fix', and its panoramic, spaghetti-western pluckings (not to mention that chugging riff a la 'I Feel Space') is finally out properly, and if you're on the ball you may've already picked up a white of Skream's long-awaited LP on Tempa, charmingly entitled Skream! - nothing too revelatory going on there, especially if you picked up both volumes of Skreamizm, but worth a gander nonetheless. Other stuff I've been enthusing about in the past few months that's finally turning up for kosher purchase? Well, you should give Erol's wide-eyed, trancey version of the new Scissor Sisters a listen, even if you suspect it's not going to be up your strasse at all. It's not as subtle or as rewarding as his 'Boy From School' edit, but it's still a significant and interesting departure from the loud-and-proud bangers with which he's made his production name. The kids are going mad for Switch's mix of Spank Rock, but frankly all that Baile-Funk-Balkan-Beats-CSS stuff goes right over my narrow-minded head anyway, and I don't really go in for that Dubsided sound at the best of times ('Warehouse Shit' and 'You're All Over My Head' obviously excepted) . And while enough people love this for me to question my values, it's not enough for me to change 'em. The DFA Remixes Chapter 2 LP is a noble addition to any collection, but to my mind, even God himself couldn't make Chromeo sound good. The majestic re-imagining of Tiga's 'Far From Home' appears in its vocal version, but we all know it's about the instrumental so...Still, it's worth grabbing a copy to get a decent-quality recording of the 'Slide In' remix (Goldfrapp) and the spell-binding, melancholy prog-punk-funk rendering of UNKLE's 'In A State', which came out a coupla years back and holds in its 9 minute duration plenty of early clues to DFA's now fully-accepted immensity. I thought Herbert's mix of Trentemoller would be earthshatteringly good but, well, it's not; you're better off spending the money on 'Moller's Poker Flat LP, which is crammed with delights. A re-edit of Fred Wesley's 'House Party' (a Carnage disco sureshot) is doing the rounds, Chloe/Sasha-Funke have some electro-house bollocks out on BPitch, the new Isolee is alright (but, as far as I can tell, nothing someone who owns 'We Are Monster' needs to worry about). Check out a tune by Zombi called 'Sapphire' (it's on the B-side to their latest 12", whose name, origin and label escape me), which is the best pitched-up disco tune I've heard in an age and look out for Quiet Village's ultra-spare, so-slow-you-could-have-a-wank-between-the-notes remix of Ronny & Renzo's 'Uniqorn', forthcoming on a new Belgian label called, er, King Kung Foo. The original's actually better, if less ambitious, than the QV re-rub. And sweet Jesus, I almost forgot - Aphex Twin's Selected Ambient Works 85-92, an album which has a fair claim to being the greatest album ever, techno or otherwise, has been repressed on vinyl and can be acquired from the usually record-selling suspects. Don't let me down.


In real life? Not much. Saturday I dropped by Phonica, where M.A.N.D.Y. were having a launch party for their new 'At The Controls' mix CD and spinning a few themselves, which was nice. This week I'm keeping it indie - Long Blondes tomorrow, Camera Obscura on Thursday - then maybe Fabric on Saturday for some Lindstrom live. Hopefully. At the moment, all I have the energy for is Man Utd vs CSK Moscow, Ambient Works and a sausage-sized spliff. Have a good week.

Sorry there are fuck-all pictures, and fuck-all attempt to make this post look pretty. As the Beach Boys once sang, distilling the 5.30pm feeling of alcoholic workers everywhere into sweetly harmonized essence - I feel so broke up, I want to go home.

Techno Logic

I'll be back later this week with a chart and some mp3's for y'all, but in the meantime I thought I'd give you a little heads up about some non-Tape related dates that me and Puffin have got coming up. First of all, we've been asked by the lovely lads who run Monkey Knife Fight! to host the second room at their upcoming DFA special. Juan Maclean and Shit Robot will be manning the decks in TImbuk2's main room, whilst the Tape crew will be whipping things up in room 2 with under_score's Microman, and Crash's Al Dare. Expect classic italo, wonky techno, hard hitting electro-house belters, and as always, a few pleasant surprises.

In other DFA related news, James Murphy's project for Nike will see an iTunes release today. Can't say that I've heard it myself, but it's one of those 'jogging tracks' in the same vein to the one that The Crystal Method put out recently. I'll hold my judgement as to whether it's a bold artistic statement or just taking the money and running until I've heard it (knowing those guys it's probably great), but any comments from those endowed with iTunes (if only it worked on my archaic Windows 98 system.... I really need a new computer!) will be treated with intrigue. Whichever way you look at it, you can't really blame the man for accepting the offer and giving something this adventurous a go. More info can be found at Pitchfork's news article
here, and there's a little rundown at Riff Central here.

Also, if you missed my latest mix while it was up on
Earplug, here it is again. The tracklisting can be found here:

Richard Carnage - 'After Hours' mix

My latest show over at Viva should be starting any minute now, so get over there quicksharp to latch onto the live stream, but it'll be archived later on today for everyone else. Here's the tracklisting.

Viva Radio - Show #5: Techno Logic
Petter - All Together // Border Community
Noze - Kitchen // Trapez
Matt John - The Rising Scope // Perlon
3 Channels - Jack In // Trenton
Tobias - Street Knowledge // Logistic
P.A.N. - The Lizard // Rebelone
Loco Dice - Seeing Through Shadows // M_nus
Gabriel Ananda - Doppelwhipper (Live) // Platzhirsch
Salz - John And The Nightriders // Stadtmusik
Nathan Fake - Coheed (Michael Mayer Remix) // Traum
Justus Kohncke - Shelter // Kompakt
Dominik Eulberg - Potzblitz & Donnerwetter // Cocoon
Lawrence - This Night Will Last Forever // Ladomat 2000
Popnoname - On The Run // Italic
John Tejada - The End Of It All // Palette
The Orb - Little Fluffy Clouds // Big Life

Not the most up to date of selections (I did compile this over a month ago), but I'll get on it for the next one, I promise! Also, before I forget, me and Puffin will be playing at Family in Dublin, run by many lovely young men including Arveene, who's boshed it out for Erol and Darren Emerson in London recently. The date is Saturday December 9th, and it'll be held at their regular sweatbox venue, Wax, so any Tape readers across the Irish channel should pencil the date in their diaries! Until next time, fellow music lovers...

Friday, October 13, 2006

Rattle Yr Chest With The Best!

Quick heads up for all you Bristolians - if you haven't made any plans for the weekend already, then you've basically got things planned out for you! Kingpin are putting on Detriot techno legends Octave One tonight at Timbuk2, so get down there early to avoid disappointment. They're clearing out all the decks from the booth so that they can fit in all the equipment for their live set (no boring laptop sets tonight!), which is unprecedented at the venue. Personally, I'm well looking forward to a bit of deliciously deep Detriot... Bring it on!

As if that wasn't enough, Saturday will see the Trinity centre host Bristol's biggest dubstep bash yet. With all the proceeds going to Oxjam, Pinch's 5th Subloaded party promises to get your chest rattling like it is happening! As with Kingpin, get down early to make sure of a place in the converted church-cum-echo chamber that is Old Market's Trinity. Here's the lineup and set times:

10pm - 11.30 :: Cyrus b2b Pinch
11.30 - 1am :: Skream b2b Distance + Crazy D
1am - 2.30 :: Loefah b2b Digital Mystikz + Sgt Pokes
2.30 - 4am :: DQ1 (Oris Jay) b2b MRK1 + Jakes

As you can see, you're not going to get a better dubstep lineup than that anytime soon, so get down to good old Brizzle for some bass action courtesy of Mr Pinch.

Wednesday, October 11, 2006

Bull Shit

Apologies for not getting on the blog this week, but with all the DJing and hedonism that the weekend brought (read Softy's short account of his goings on below), my body and mind have been far too fragile to put anything together for you lot. Rest assured, I'll be back with one of my long overdue charts later this week, and we should have an interview with The Emperor Machine up soon as well. In the meantime, here's a little chart from Mutant Pop's resident minimal magician, Mike Bull. He's had some quality mixes up on here in the past (they may actually still be available - have a little search). and certainly progged out the bar downstairs on Friday with panache. In no particular order, this is what he's been enjoying weaving together over the past month or so.

Mike Bull's Current Top 25
1) Melchior Productions - The Phantom // Perlon
2) Pheek - Magda Had A Little Troll // Gurtz Remix
3) Martin Buttrich - Programmer & Full Clip // Planet E
4) Ferrer & Sydenham - The Back Door // Ibadan
5) Donnacha Costello - 6x2 // Minimise
6) Dinky & Jorge Gonzalez - Close Dat Door // Horizontal
7) Jason Emsley - Politic EP // Platzhirsch
8) Superlongevity 4 // Perlon
9) Seph - Bats // Leftroom
10) Seph - Phound // Stock 5
11) Mark Henning - Ode to DS (Remix) // Multivitamins
12) Florian Meindl - Beat Spyder // Resopal
13) Samin & Argenix - Sabor // Tuning Spork Family Affair
14) Fuckpony - Pony Pumper // Get Physical
15) Pan - The Lizard // Rebelone
16) Franco Cinelli - Flog // Alphahouse
17) Dominik Eulberg - Blueten Sind Dem Grossen

Schillerfalter Fremd (Renato Figoli Remix) // Traum
18) Alex Under - Multipliremazclas 1 (Tadeo & Lusine Remixes) // Apnea
19) Sebo K / GummiZh - Back to Back Remixes // Mobilee
20) LocoDice - El Gallo Negro / Flight LB7475 // Ovum
21) Koljah - Leckerkuchen (Mikael Stavostrand Remix) // Sushitech
22) Marc Houle - Stacks & Stacks // Minus
23) Renato Figoli - Le Stelle Sono Tante EP // Trapez
24) Alexis Tyrel - Rebecca Loos // Weave Music
25) Sweet n Candy - Dirty Gotches // Dumb-Unit

Bug eyes at night, blogger's delight

Okay, what’s been going on…

Friday, we held our monthly bash Mutant Pop at the Arc Bar in Bristol. Having now moved to London, I have to say how much that night made me miss my former home. So many familiar faces – the Kingpin boys, the Underscore lot, my old housemates, old workmates, Sonar buddies, friends and friends of friends – the club was like a pale, fleshy bosom enveloping me (but, you know, not suffocating me – thank god I gave up draw). Our special guest for the evening was Mock, of Mock & Toof fame, and he certainly did the business for us with plenty of tasteful disco, gnarly electro-house and the odd DFA exclusive. Carnage will give you the full low-down anon.

Having spent the earlier part of the evening in Cheltenham (don’t ask why – or, if you care, make 'friends' with me at www.myspace.com/allsexistape) with an old friend from Oxford and five pints of sludgy ale, not to mention a hefty gin-and-tonic and a nightmarish trainride up to Bristol, I arrived at the venue as Carnage was finishing up (Radioslave mix of ‘King of the Mountain’, innit) and dived over-enthusiastically into a rack of tequilas and a wee parcel of putrid, mind-bending and jaw-locking powder. This, quite obviously, was a mistake, especially when supplemented with further pints, joints, a line of coke and repeated honks on what I, in my innocence, at first took to be helium balloons. They were, of course, full of nitrous, a fact which eluded me until I realized my voice wasn’t sounding high-pitched and my head felt like it was going to explode. Ah, youth. What’s left of it, anyhow.

We went back to Puffin’s listening lounge, where I made the mistake (as if I hadn’t made enough already) of washing some Es down with absinthe. Now, you see, I thought I’d drunk absinthe before (there are very few things which haven’t passed my lips, with the exception of, er, cocks – although if you saw the flyer for Blogger’s Delight you’d be forgiven for having your doubts - check www.myspace.com/bloggersdelight), but I obviously hadn’t, at least not the proper stuff, and though I held it down, God knows what it was doing to my insides, especially in conjunction with everything else crowding my bloodstream. The only reason I tell you all this (apart from a sad, self-aggrandising duty) is to explain why I felt SO awful on Saturday. Now, in the past, when I was a student, I treated my body so badly – drug consumption accounting for only a small part of it, the rest attributable to woeful diet, no exercise etc – that I got used to it, and could have a night like I did this Friday and still feel just about human the next day. Well, though I’ve become an alcoholic and fair-weather cokefiend in the last year, I have satisfactorily eschewed all other forms of chemical stimulation (for the most part). So imagine how DREADFUL I felt on Saturday. After catching a couple of hours kip at Carnage’s (I got his bed – poor cunt had to be at work – but God knows it probably made me more ill), I boarded the Megabus (if you’re not from the UK, the Megabus is basically the budget intercity bus service which, frankly, isn’t even that budget anymore. I shoulda got the train…) and braced myself for the 3 hour trip to London. I actually felt so ill, that when I tried to have a sip (a sip) of water, I started dry-heaving and seeing spots. Jesus. I couldn’t listen to music, ‘cos the 4x4 throbbing I’d loaded my walkman with was tantamount to torture, I couldn’t read my book (the nausea would’ve been UNBEARABLE) and, most tragically, I was companionless. Needless to say, the bus broke down, the traffic was horrendous, and by the time I was back in London, five hours had passed. I honestly felt like I had brain damage. All I wanted to do, by this stage, was jump under the wheels of a train, but I’d promised friends I’d meet them at my local, so I did the decent thing and went and told them the exact long and self-indulgent story I’ve just told you, albeit with more annotations and elaborations than I could ever commit to (virtual) paper. I still couldn’t eat, but a whiskey-and-coke settled my stomach and I was able to smoke again, so I ended up going to bed a happy(ish) man with my ex warming the bed if not, understandably, putting out.

Woke up, had a ferociously greasy breakfast round the corner, and just about felt fine. This was important, ‘cos it was Blogger’s Delight down at the Lock and I, Mr Soft, was scheduled to be spinning some tunes (something I haven’t done for tooooo long). It was bloody good fun, as well, I was playing early evening downstairs so got to rock the disco in a very apt setting. What did I play? I started with Arthur Russell’s amazing Muzik Box edit of Colonel Abrams, then, among other things, Terje’s mix of ‘Camino Del Sol’, Whomadewho’s ‘Hello, Empty Room’ (respeck Carnage), Brocksieper & MIA’s mix of Pantone, Morgan Geist’s ‘Probs’ and a bit of Long Blondes and Patrick Wolf to appease the indie kids (and my hangover).

Ill Will (pictured above), from Adventures Close to Home, played after me, and absolutely smacked it – bashing out some Kompakt bits, a real nugget called ‘Sapphire’ by Zombi and, I vividly recall, Alex Gopher’s excellent new ‘Motorcycle’ on Kitsune. We were all loving it, and having never heard him play before, we hope to have his Illness down to Mutant Pop some time in early ’07.

I also introduced myself to the Skull Juice boys (pictured above), who I’d not met before (though Benedict did actually play at the 2nd Mutant Pop) – lovely fellas. Ben has just started working for Phonica, a bizarre coincidence given that Carnage has booked SJ to play the TAPE birthday blow-out alongside, yep, Phonica’s Simon Rigg. If that’s not enough of a coincidence, who should Lazerboy bump into as he wheels down Camden High Rd in search of cash other than….yep, Simon Rigg. It’s a small world, just the way I like it. And with Lazers, my housemates, my old mucker George, as well as the aforementioned electro types all chinwagging quite happily, it all felt rather like home – thank God, ‘cos Friday made me think, “Shit. Maybe Bristol is still home…” The great and the good of the unpaid slogosphere could be spied all about the place: James Headphonesex and Kevvy K from Dilated Choonz both popped by, while Simon A. Carr from This Is Not An Exit played before me (and played that DFA mix of 'Springfield' that I'd planned to kick off with - the bastard) and, of course, Casper Fluokids, who organized the whole night [links to all these fellas musings and postings are in the sidebar). Anyway, I didn’t really head upstairs that much (I had some free booze and a beefburger to dispatch with) so I didn’t get to hear Skull Juice properly, nor much-loved TAPE associate Matt “Nightmoves” Waites, and, sensing that my rice-pudding of a brain wasn’t getting any better as the night wore on, I left before secret guest Midfield General turned up and ended up, as I so often do, falling asleep in front of the telly (of all things, Forrest Gump) with unlit joint betwixt finger and thumb.

Some stuff about music or something to follow. Here's my current listening, anyways:











Thursday, October 05, 2006

It's Me Or The Prog...

Just a little heads up about a few things we've got coming up this weekend. First of all (unless you've forgotten!) we've got Mutant Pop at the Arc Bar this Friday where we'll be hosting Tiny Sticks' head honcho, Mock - in my opinion he's a perfect guest for Mutant Pop due to his ultra diverse tastes and killer selections. From the jacking techno of the Tigerskin and Style Of Eye releases to the bouncing robotic disco of Shit Robot’s Dondolo mix, his label Tiny Sticks never fails to please. Mock tells us that he’s looking forward to playing some harder electronic sounds alongside his usual discofied shenanigans, so I suspect he’ll have quite a musical journey for our dancing pleasure. Joining Mike & Gaz downstairs will be Empathy’s Jim Rivers (Saw Recordings) and Stuart Wilkinson who’ll be supplying us with a techno workout that’ll be sure to make the most of the Arc’s brand spanking new soundsystem that’s been recently installed. Apparently Mike's digging all his old progressive house records out, so ready yourselves for a long, hard progging in the bar whilst we wildstyle into the night upstairs.
There's no rest for the wicked, it seems, as Saturday will see me grace the decks at Bashout down at The Black Swan in Easton. Widely known for its messiness and its tendency to ram out the venue (last time we ventured down a couple of months ago we failed to get in after waiting an hour outside), Bashout's a very popular choice with the younguns and sees them travel from miles around to attend. Headlining the main room will be Luke Vibert in his Amen Andrews guise (bring your earplugs!) who'll be sure to be terrorising your eardrums, whilst FWD residents Slaughter Mob bring the bass to room 2. I'm hidden away in the third room, which at each Bashout goes under the 'Interesting Results' tag. The whole idea of the room is themed sets, and as I'm not one to be constrained by category I chose the widest one imaginable. I'll actually be spinning 'Songs from New York's underground 1975-85', so expect a bit of no-wave, some proto hip-hop, cowbell plinking punk-funk, and smatterings of discofied shenanigans. Joining me in room 3 will be Mutant Pop regular, Leon Eggbeer, playing 'Anticon Records 98-06' which should please all you beardo hip-hoppers out there, and Struwwelpeter will be, well, appealing to all beardos with his set of Captain Beefheart tunes.

I'll finally be able to rest on Sunday, but again I'll be playing out with our Puffin and under_score boys Duncan and Luke at Hush Hush for their Normalise night (found on Gloucester Road near The Arches). Leather sofas, a pint of Guinness, and a bit of relaxing deep techno and dubbed out disco... A perfect end to a bit of a mental weekend. Anyway, less of the shameless self promotion and back to the music. I totally forgot that my latest show on Viva Radio aired this week, and I'm happy to say that it's been the most well recieved one yet! This show concentrates on the many facets of disco that we love over at Tape Towers, so if you enjoyed the Mutant Disco mix that I put up a few months ago you'll be sure to dig this.

Viva Radio - Show #4: 'Disco Delights'
Double Fantasy - Heartbreaker // Innovative Communication
Allez Allez - African Queen // Scalp
Piramis - Dracula // Cosmic Dancer
Darondo - Legs // Luv'n'Haight
Fred Wesley - House Party // RSO
Escort - Starlight // Escort US
Asha Puthli & Goblin - Sound Of Money // Cinevox
The Champs' Boys Orchestra - Tubular Bells (Cosmic Mix) // Supreme
Amadeo - Memories // Unknown
Margueritas - Marguerita (Hot Edit) // Environ
Gary's Gang - Makin' Music (Short Dub Version) // Radar
Q - The Voice Of Q // Philly World
Barrabas - Woman // RCA
Maximum Joy - Stretch // 99 Records
T-Connection - At Midnight // T.K. Disco
Padded Cell - Konkorde Lafayette // DC
Sly Mongoose - Snakes & Ladder (Rub'n'Tug Remix) // Mule Musiq
Paul Simon - Late In The Evening (DJ Spun Edit) // Editions Disco
August Darnell - Friendly Children (Todd Terje Re-Kutt) // White
Loose Joints - Tell You Today // 4th & Broadway
The Passions - I'm In Love With A German Filmstar // Polydor

If you're around in London town this weekend, then get your arse down to Casper C's 'Blogger's Delight' party at the Lock Tavern on Sunday. Sinden, Matt Waites of Nightmoves, and a very special guest will be smashing things out later on in the evening, but if you nip down in the late afternoon/early evening then you might see TAPE svengali Mr Soft rocking the badly mixed disco. I'm not sure if you've seen the excellent Kitsune style flyer before, but if you have you can't have missed Soft in the bottom left sucking on... I'll leave the rest to your vivid imagination! That boy...

Until next time - have a good weekend, and don't burn yourself out like I'm inevitably going to!

Monday, October 02, 2006

TAPEd Conversation: My My (Playhouse)

"My my." It's a great phrase, one of those phrases that, to me, makes the English language great, and there's no other way to enunciate it than in a smooth, slightly seedy James Bond drawl (well, ok, you could probably do some John Inman take on it, but...). Well, until recently that's all "My My" meant to me, but then a trio of Berlin-based producers put out a pair of 12"s, 'Serpentine' and 'Klatta' on Playhouse under that very moniker, and well, the rest is (techno) history. If you've not heard the organic but very noirish sounds of those two tunes carving up a dancefloor, well, I think you probably need to visit more dancefloors. You've probably enjoyed the recent single 'Butterflies & Zebras' as well, which Carnage posted up here a while back. But a far more pressing concern right now is My My's debut LP, Songs for the Gentle, also recorded for Playhouse and also - you guessed it - amazing. With wonderfully twitchy, fussy sampling, complex rhythmic arrangements but always on and around a fairly tough tech-house backbone, this album will be a treat for those of you who, like me, went bonkers for Pier Bucci's (still underrated) Familia LP of last year. Songs for the Gentle also shares that album's yearning, bucolic undertones, inspiring images of flora and fauna, and revealing a human heart pulsing beneath layer upon layer of twittering, chirruping machine noise. Which might explain why their live sets are so fucking good.

As is my way, I asked the My My fellas some not too penetrating questions...

TAPE’s buying. What are you drinking?

Lee: Bombay Saphire and Tonic
Nick: Vodka apple juice
Carsten: Jack ginger ale

The secret to a happy life is...

Carsten: Don’t be jealous!
Nick: Sweet little lies!
Lee: No regrets!

You’ve called your forthcoming album Songs for the Gentle. Was song structure, or the idea of song, something that you had particularly in mind when making the record?

Lee: Sure, great songs are the only things I keep listening to for years and years... Melody and harmony are the main things that give me an emotional response to music. The tracks on SFTG are mainly structured in a club friendly style, but the music should give people the same feeling they get from hearing a song they love...

What equipment/software do you use for your live sets?

Nick: We're using 2 laptops each running live, 1 controller, a tiny keyboard, an Electribe ER-1, a little dj-loop-player and sometimes a guitar...

I’m interested in the group nature of your project. Do you all work together in the studio, at the same time? Or do you all work on your own, then come together in the studio at a late stage in the production process?

Nick: It depends, although most of the time, Lee and me are working individually and hook up later in the process to finish our work. Every once in a while we do long, jam-like studio sessions together and have already come up with nice stuff like “Clean Break”, the opener to our album, that way.

How do you think your backgrounds in other types of music have informed your more techno-orientated tracks?

Lee: I think it all comes back to hip hop and sampling. It’s the main thing we all have in common musically, that we all loved the hip hop. The process of playing with beats and samples led us through all kinds of music and we ended up here...

How did you hook up with the Playhouse guys?

Carsten: I met Jörn Elling Wuttke of Alter Ego through work and nightlife. I was telling him about us doing music and he asked for a demo. It took us more than 6 months to finally come up with a demo containing 12 tracks, of which they signed three straight away. That became the Klatta EP.

Why did you start JUST?

Nick: Something to do, innit? No, seriously: Lee has quite a huge output and that made us think about setting up a label, in the first place. At the same time we noticed some friends around us doing great tracks and one thing led to another…

Who are JUST’s key artists?

Nick: For the time being, it's Lee Jones. Then there's Pigon, which is the Dial artist Efdemin with his mate DJ RNDM from Vienna. Our third release comes from Kock&Wilck, two guys from Potsdam, near Berlin. We got to know Sebastian Wilck as the trainee of Watergate, a Berlin club, where we're hosting a Wednesday night once a month. Another artist is Daniel Offermann aka O., who will be doing our fourth release.

Lee, what made you move to Germany?

A German girl and a few problems with the English tax office

What’s your favourite place/venue to play together?

It has to be Panorama Bar, of course!

What does My My’s dream rider consist of?

Plenty of drink tokens and friendly people

Did you set out to record tracks especially for an album, or did you make the tracks individually and realize afterwards that they’d sound good together as an LP…?

Lee: We had a lot material we’d been collecting since the beginning of the year, but nothing seemed to gel properly into an album. I decided to try and write a few extra tracks alone, and ended up writing about 8 tracks back to back, which became the album. It worked better like that – we always talked about making an album, not a compilation of tracks. Some of the other stuff Nick and I did together has ended up coming out on other labels and on a follow up EP.

Favourite TV show ever?

Lee: M.A.S.H.
Nick: Six Feet Under
Carsten: Friends

Are there any artists/producers, old or new, who you really admire, of who have had a big influence on your sound?

Photek, A Tribe Called Quest, Pepe Bradock, Carl Craig, Luciano, Mathew Jonson, Stewart Walker, Quincy Jones

What’s your favourite Bowie album?

Lee: Hunky Dory
Carsten : Low

Who, in the real world or dream world, would you love to collaborate with?

Kate Bush

Do you spend a lot of time in the studio? Do you work in short bursts or do you sort of keep regular office hours?

Lee : I’m a workaholic. My studio is at home, so I live in my studio. I’m always trying to keep to some kind of a normal working life, but it’s so hard!
Nick: I’m also busy doing other stuff, as well as djing every weekend. I’m trying to do as much music as possible, anyway.

What are the most prized records you own?

Nick: Maybe that 9/11 12” Theo Parrish did. I’m really crap at assessing my gems, so I don’t know, really…
Lee: I don’t think I’ve got any precious records.
Carsten: A bootleg of Led Zep my father gave me.

Which of your tracks/remixes are you most proud of?

Carsten: Swiss on Rye
Nick: It’s gotta be the first EP, even if other My My tracks sound more accomplished in retrospect. It just gave me such a rush to play out our first proper 12” and to see how well it went down with the crowd.
Lee: I agree. I saw Sven Väth playing Klatta and I was very chuffed.

What’s the best thing about living/working/partying in Berlin?

Cheap, good nightlife, lots of other artists, German girls and boys. You know the score…

The concept and sleeve-art of ‘Songs for the Gentle’ seems to be quite pastoral; are you regular visitors to the countryside? Or is the natural/pastoral thing a sort of fantasy?

We love nature, but we need friends with cars!

What’s the worst/funniest gig/set you’ve ever played?

The worst was playing live at New Kids On Acid 2005, when half way through our set Richie and Ricardo arrived with their private charter jet from Glasgow. Their entire entourage assembled on stage, almost pushing us away from our laptops.
The funniest was playing an after hour in Hamburg this year when we did an impromptu laptop jam for five hours. Lee and Nick spent considerable time in front of no audience but couldn’t care less…

What was the first 12”(s) you ever bought?

Nick: Feargle Sharkey – A Good Heart
Lee: Can’t remember if it was Sade or Scritti Politti
Carsten: MC Hammer U Can’t Touch This

My My's 'Songs for the Gentle' is out on Playouse on 23rd October.

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