the hacker
The French Dj Michel Amato aka The Hacker, global reference and one of the pioneers of electronica, visit Spain on 2 occasions. A Festival for the East Ender scheduled 16th and 17th June. And on July 14th, France's national holiday, visits the underground club Le Rachdingue now celebrating over 40 years with the best djs on your poster. In a personal and exclusive interview, he confessed delivery of your next album shortly.
Q. As a leader in the electronic music scene, from the new English Kaftwerk wave and going through the EBM, what would you highlight about your music?
A. Since I started, I was away from house. I rejected that style. I did not like it and I was not interested at all. I reach Detroit music, the sounds of Jeff Mills, who still admire today and during those years I acted with the collective Underground Resistance.
Q. You get a very particular own style and serious, too. Tell us more about your collaborations as a DJ and producer, like Oxia and others.
A. Yes. The success came in 1996 with Miss Kittin, DJ Hell discovered us. We were on tour to Lisbon and achieve success in U.S. I worked on Goodlife Records Gigolo as own record labels and recognized DJs like Tiga. I produced for Nitzer Ebb and Fischerspooner. With Miss Kittin no longer cooperating more, I act alone. Now with Miss Kittin it's over.
Q. What do you think about European festivals and club scene, do you think the art scene could modify or make changes on them. What do you think of what is happening in Berlin?
A. I have achieved great success in France and Germany, and the last few years the European electronic scene has created a style and has set a trend itself. I have acted in the best clubs in Amsterdam, Paris, Berlin, Barcelona, London, Moscow, Milan, Munich, Hamburg. I will be playing at Berghain next month. It is very good what is happening there. As an artist also affects me. The organization of copyright in Germany, GEMA, wants to apply an hourly rate to opening, a percentage so high that the clubs could not afford.
Q. All, magazines, djs and clubs, considered you a classic, a reference for the electronic dance music in europe and international. About your last album? is there innovation? Voice, maybe?
A. No, not this time, on my last album, i didn't use voices. This stage appears to have been closed. In an elgante style, classic remixes or albums as Reves Mecaniques are Using the resources of voices (later others like Plastikman adopted). This is the main features of deep techno style. I like it. Well, this time there are no voices. It is an album without vocals. Keeping elctronic music. My style. But of course, there are any changes in the electronic and seems progressive. Changing the disk, Vynil was imporant to me. Tonight I only play with CDs.
Q. Dark Techno, Electroclash movement or the dark side of the electronics are your highlights. Thats your contribution. who you recommend to new generations. Your music has a sense for art, functionalism and beauty.
A. The important thing is a classy, be classy in your remixes, very goog quality technique and always good content. Also some existentialism mail. Although the most important integrity in their creations.
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"L'homme de l'ombre» ... From his start in the hardcore techno to the massive success he get with Miss Kittin, Michel Amato aka The Hacker is one of todays Most Talented and innovative French artists. With Electro (Kraftwerk) to New Wave (The Cure and Depeche Mode for ever) as a musical background Also was familiar With the French rave of the early 90's.
Michel starts doing music in 1989 at the age of 17 in Grenoble (France). Duran Duran was around and discovered the dark sides of Electro with Cabaret Voltaire and DAF In 93, although in love with LFO, I took the hardcore side and released a few 12 "s with Benoit Bolloni (aka Money Peny Project) under the moniker XMF on the label of the same name.
In 95, I lowered the bpm but not the energy. Under the name The Hacker have made his own music in a classic Detroit Style with Jeff Mills in mind. His first tracks are released on Ozone and Interface. Three years later I have found his own label Goodlife Records (a classic track from Inner City) WITH his friends Oxia and Alex Reynaud, but still releases tracks on other labels: such as A Strange Day on UMF and Method Of Force on Sativae. The tones of his debut album "Melodies In Sous-Sol" (spring 2000) surmise his musical dreams where you can hear New Order, Dopplereffekt or the hardcore of PCP.
His first album "Mélodie en sous sol", the 12 "s Electronic Existentialist (Missile) and Cabaret Futura (Feis)) and the remix Greed (Laurent Garnier) made the statement That The Hacker was the new messenger of the French Electronic scene.
Nevertheless it's another project That will put The Hacker on the international stage.
I have Created some fun 80's electro-pop With His friend Caroline Herve aka Miss Kittin. DJ Hell loves Their first track "Gratin Dauphinois" on Technics and signed them on his new label Gigolo in 97. In Germany the success comes Immediately with "Champagne" and "Intimités". They are booked everywhere with Miss Kittin appearing as a dominant nurse and The Hacker cold as ice behind the machines and decks. With the beginning of the Electroclash in 2001 They Become hype all over the world! Parties everywhere, chat with Karl Lagerfeld and Elton John amongst others, The Hacker is one of The most sought-after producers remixing for Mark Almond, Fisherspooner, Air and Nizer Ebb.
In 2002 After their U.S. tour, Michel and Caroline decides to take a break from Their project. The Hacker Takes this opportunity to create new tracks to release 12 "s: such as" The Beach "on Mental Groove (with miss kittin) and" Dance Industry "on Tiga's label Turbo.'ve Collaborates with Alexander Robotnik, Millimetric & David Caretta . tours all over the globe as deejay and have released his second solo album "mécaniques rêves" in october 2004 copies on.
2006 saw the release of a second mix cd "and now" followed by an european and U.S. tour. a new 12 "released on different called" art & industries "show the new direction of the hacker. several remixes for other artists are on the way and more new stuff for 2007.
lara pearl (lauraplanagracia), orbita magazine, n*21/09.2012
http://revista.orbitamagazine.com/021/#/pagina/22
Fabric 12.1 w/ San Proper, Portable (Live), Trus’me & Jimpster Delusions of Grandeur
Line up
Craig Richards
San Proper
Portable (Live)
Trus’me PRESENTS: ‘Treat Me Right’ ALBUM LAUNCH
Trus’ Me
Terry Francis
Trevino
Conforce (Live)
DELUSIONS OF GRANDEUR…
Jimpster
Session Victim
Norm De PlumeMore info & tickets from
Supported by Ricardo Villalobos, Laurent Garnier, Zip and his label Perlon, San Proper is part of a growing number of Dutch DJs who are moving from a local cult status to become an international cause célèbres. San Proper is the real deal. One could describe his story as one of the struggling artist, but if that is true, he has certainly enjoyed the struggle along the way. In 2011 he released his debut album for Rush Hour and frequently collaborates with Ricardo Villalobos exhibiting some of the same eccentric flair for next level sound. This time, San Proper will be taking a break from his extroverted live show to build an imaginative house DJ set suitable to the surroundings of Room One at Fabric. We know San as an ambassador of theAmsterdam electronic scene and together with London’s finest Craig Richards, accompanied with a live-set by Portable, aka Bodycode, who is accessible and idiosyncratic in his live act, bringing to wide influences (born in Africa, living in London and now Berlin) to bear his deep vocal-led productions on Perlon and Spectral Sound.
The remixes San Proper made last summer for labels like 87 records, Soweso records and artists like Belfie, Adil Hiani and Rick Wade have a strong ressemblance to his own work. His signature is prominent. You’ll hear him use his vocals a lot, his percussive ad-libs, the bass-lines and themes set the tone. In his tracks, like on his debut-album “Animal” which he released on Rush Hour records in June 2012 you’ll notice a lot of his field-recordings and cinematic ambiance sounds which he uses because he claims it adds more story to his tracks. In a bar in Dalston, London, he tells me about the different tales and saga’s behind his music. He explains to me why he occasionally prefers to play eclectic sets and emphasizes his love for Disco with a cheeky statement. “Disco is the ‘mama’ of House-music, and i like to date both mother and daughter…”
I meet San Proper for the first time during Mutek.es 2012 in Barcelona. He was invited to play a live-set at Moog, after the success of his first show for Mutek in Montreal 2010. I remember his present personna during the performance, he has an attractive force, very special, some kind of spark that makes him different from the others. His ‘lives’ are funky, experimental, excessive and dangerous, and i have to admit, one of the best i’ve ever seen.
Fabric is worldly renowned for being the best in technical equipment. The best sound and best lights flood the dance floor giving the audiences to feel part of a world made of Techno and House music, with it’s visions which shape the dance culture. Tonight his happens in Room One for sure, in the same booth where a plate of Scott Patterson, founding father of the club Fabric, says “Fabric Heritage. Hardcore, worker, raver, horse lover Scott Patterson lived here”. San Proper is on the best DJ’s to line-up nowadays. In his repertoire i’m hearing Funk-influences, electronics, Jazz, Samba, Techno which all together sound like a whirlpool of proper tunes. It reminds me of tectonic textures and lava, pure sound and raw material.
San Proper promotes his friends and colleagues from his city who are responsible for the ‘Amsterdam-sound’. He talkes about projects as Shoebox, Alphabet and some more Tom Trago, Awanto 3, Melon, Overlast and O-Boogie and tells me that when first started releasing his ‘Proper’s A’dam Family Series’ he felt an urge to make his debut of 12′-inches a collaboration project with these MPC-heads to represent the sound of Amsterdam and the infuence from abroad. He hints about a new project he’s setting up entitled ‘Stiletto’ and praises Heleen Blanken, a good friend, a new VJ-talent who recently produced the visuals “Alpha Century” with Jeff Mills. Proper is obviously impressed with the visuals and tells me what a massive impact it had when he fell in love with the Axis compilation Mills put out in the nineties. The depth and mystique echoes on.
San Proper released his new album entitled “Animal” in June 2012 with Rush Hour ( www.sanproper.com ), an independent label based in Amsterdam since ’97, which has a renowned status with the tracks and albums they released in the last fifteen years.
In his live-shows, San Proper uses guitar, synths, bass and his vocals. Once he’s recording in his studio, he’ll use lots of live-drums and percussion on top of his electronic productions. He explains to me he prefers the combination of drum-computers with organic sounds and tells me on his album his lyrics are about the topics in his life, like a diary. He gives some examples with tracks like “Brain Soup”, which refers to a hangover which feels like someone’s making brain-soup in your skull. He tells us about the girls running around in the corridors of his mind with “a Choice named Joyce” which like “Another Sign” and “Water castles” have an obvious feminine inspiration, like most of the tracks on the album this last example is about women, their tears which he turns into diamonds to seduce them… He has a soulfully distorted mind which presents Proper’s Dusty House Music…”
Lara Pearl (laura plana gracia) interviewed San Proper
at Fabric, London, Saturday 12.01.2013
Published at TGN The Guestlist Network
http://guestlist.net/interviews/6480/san-proper-interview/
electronic music texts
interviews to
karl hyde jeff mills daniel avery death in vegas the hacker san proper
Karl Hyde (Underworld) presenta “Edgeland”, su disco en solitario
Underworld, artist Karl Hyde has announced the first single from his upcoming album EDGELAND. This first solo single titled “The Boy with the Jigsaw Puzzle Fingers” is now available online. Includes remixes by Matthew Herbert and Kasket.
P. Hello Karl Hyde. Welcome.
R. Hello, thank you for inviting me
P. Edgeland is your new solo album. What will we find on it? Have you collaborated with other artists?
R. I wrote this album with Leo Abraham, an extraordinary guitarist, composer & producer whom I met whilst we were both collaborating with Brian Eno on his
Pure Scenius project
P. This is a release on the Universal label. Which media or channels will be distributed?
R. All channels, both physical & virtual
P. You’ll be on tour in the UK, London. Also in SonarSound, Tokyo. Awaits Berlin, Amsterdam and Brussels. What do you expect from the tour?
R. Ha ha ha, I try to dispel all expectations & put my faith in people (my expectations are Disney Land). I’m bringing a wonderful band of musicians whom are not only great players, but a joy to be around.
Peter Chilvers (keyboards/lap tops) my musical director has worked with Brain Eno for many years, Angie Pollock (keyboards/vocoder/backing vocals) has worked with
The Lightning Seeds, Goldfrapp & Peter Gabriel, Gaz Williams (bass/electronics)
A gifted musician/composer/producer from the homelands of Wales & myself on
Vocals & Guitar. The lighting & staging has been designed in conjunction with
Bruno Poet who is lighting director with the English National Opera, LD for
Sigur Ros & was the LD for the English National Theatre production of Frankenstein
(where we met when Underworld composed the score for the performance)
P. Along with Underworld you are part of the masters of the 90s electronic music, with Orbital, Chemical Brothers, Aphex Twin, Death in Vegas, etc … How do you see the scene now? What has changed? What do you like?
R. It has finally crossed over to America, something I thought would never happen!
I like it all, even the cheesey bits.
P. After celebrated successes as Born Slippy, what does Edgeland give us?
R. Edgeland is based on the music Underworld always had on it’s albums between the dance floor tunes, tracks like ‘Tongue’, ‘Skyme’, ‘River of Bass, ‘Mother Earth & ‘Goodmorning Cockrel’ have always been a part of what Underworld put out on albums, but in recent years these tracks have never been performed. I wanted to redress that & set out to write an album directly inspired by such U/W tracks. The result is
Edgeland.
P. You also keep your production with Underworld. How the individual creations affect the future of the band?
R. They make it richer & insure we don’t get stale or blame Underworld for not being the vehicle for ‘all’ our ideas, which leads most bands to split up (something we never want to happen)
P. Among the electronic rhythms of the 90′s and the melodies of Underworld, which are found in Edgeland? What changes have you introduced after these years?
R. On Edgeland you will hear atmospheric soundscapes, treated guitars, deep & distance grooves & my voice, all of which have their roots in U/W albums.
P. What influences you have when you create music? Which is the Muse? Is the industrial city? Is your hometown?
R. My Muse is travelling through the Edge of the city, riding trains, looking out the window, listening to the conversations of fellow passengers, documenting my journeys, sitting in cafes, walking through the back roads & forgotten streets at the edge of town
& recounting stories of my visits to places the news doesn’t document, but where I find a rich source of inspiration amongst the beautiful people who live there.
P. Cut Clouds is the first single we have heard from the new album. It is distributed in FACT, YouTube, etc. and different medias. Tell us more about it.
R. This track was directly inspired by John Martyn’s song ‘Anna’, a recording of which he sent to me before he died, a song that has haunted me for years. I wanted to pay homage to him & his unique style of guitar processing & ‘Cut Clouds’ is the result.
P. Clouds Cut is a single minimal, delicate vocals and melodies. Represent the rest of the album?
R. Delicate vocals yes, often inspired by the singing of Robert Wyat, deliberately fragile because this type of singing would never work in the powerful anthems Underworld write & so I have therefor longed to sing this way to balance the years of accompanying
Loud dance tunes. Edgeland also carries within it Treated & processes guitar, broken beats, scratches & soundscapes, Stories of journeys & the people I met on them. Singing, singing, singing & singing.
P. the Boy with the Jigsaw Puzzle Fingers perhaps belongs to a melodic pop, goes to The Smiths-influenced piano. What do you think?
R. An interesting interpretation. All of the songs on Edgeland are improvised & the vocals are all the first take that came out my mouth, making up the melody as I went.
There was never a preconception about what to write, only that Leo & I should press ‘record’ & start playing & singing, following & leading each other until we decided it was time to stop. We didn’t want to work with conventional song structures & instead wanted the songs to take the shape they wanted to take.
P. The minimal electronics stills presents, the taste for the instruments, the sound and it has perhaps something mystical. Why does it seem so attractive?
R. Since I was a young boy I’ve loved the work of Brian Eno & German Electronics, film sound tracks & dub Reggae. I think all of these influences relate to your description of the sounds on Edgeland?
P. It is said that your creations are “esoteric music landscapes”. What do you think about that?
R. Nice description (can I use it?)
P. What do you prepare for Sonar Sound Tokyo on April 7?
R. A live band, inspired lighting, huge new paintings of mine printed onto silk drapes & conversations with the audience.
P. You work with Rick Smith since 1980 and with Underworld since 1987. You have released anthems for dance floors. What do you expect now from the music industry?
R. Expect nothing & never be disappointed.
P. Underworld has recorded soundtracks for films like Matrix, Trainspotting and orchestral music pieces for the British National Theatre and the National Theatre of Scotland. Are you planning something new?
R. I continue to collaborate & record with Brian Eno (many hours of which have yet to be released), have just released my first film collaboration ‘The Outer Edges’ with director Kieran Evans & am currently scoring a two hour film installation I’ve created documenting a journey around the London Orbital (M25)
P. How does it mean to compose the soundtrack for the opening ceremony of the Olympic Games in London 2012?
R. Very nice
P. Thank you very much for the interview. Hope to see you in London!
R. Thank you for your support it means a lot to me.
published @orbita,magazine
More information at:
www.facebook.com/pages/Underworld/21193697848
INTERVIEW TO JEFF MILLS
On its 20th anniversary, Axis Records presents SEQUENCE, a compilation book and a CD format.
"What began as a dance music label has evolved into an undeniable creative force for his role in the quality of shape, colour and textures of dance music, probably the best we know today and tomorrow. Formed in 1992, the acclaimed Techno DJ, producer and artist Jeff Mills, formed Axis, the independent label that continues to be one of the best producing electronic music, in the limits of creation and perception of the Cosmos. Axis is the science of body and soul. Following 20 years of fervent activity, the archive of all his work and his projects have been collected in a collection of art, photographs and designs. Axis Records is in 320 pages 30x30cm. hardcover book with USB card with 30 tracks selected by Jeff Mills to represent the history of Axis Records Between 1992-2012. Out on December 10, 2012. Double CD compilation of 24 tracks released as the book release simultaneously -
P. Hello Jeff Mills. Welcome!
R. Hello. Thank you!.
P. What does it make your sounds particularly special?
I don’t really know the answer to this question. I try to relay what I feel about subjects through music and sound. Why it sounds this way might have something to do with
my musical history that pre-dates today’s DJ culture. I still try to play electronic machines like instruments, not like programming a computer.
Now is 20 years of Axis Records presented in a book and in a CD, titled Sequence. Tell us about why did you decide to make it?
R. We thought that two decades was a good number of years in our history to look back and reflect on what had been attempted and created.
P. Your last job is the Alpha Centauri video in collaboration with VJ Heleen Blakeen. It is an excellent video art work. How has it arisen?
R. The idea of Alpha Centauri was an idea that we had been thinking of for quite a while. We felt that by having an outlet dedicated for images and film would be greatly helpful for people to understand what Techno music looks like. The initial contribution of Heleen Blakeen was a perfect beginning. We asked and offered Heleen to create a film every 3 months of 2013. The next will debut 4/1/2013.
P. Your music is very qualitative. Have you ever received any offer from labels such as EMI or Universal?
R. No, I’ve never been. I always assumed that those companies specialize in making very large sums of money so, the more people the music appeals to, the more money the company makes. I never thought my music has that mass appeal.
P. Kraftwerk is also in EMI. They are the pioneers of the "Computer Music", low electronic and techno sounds. Is this also your music style?
R. Bands like Kraftwerk made their mark in the Music world when major labels took chances and were more interested in artist development. Those companies like EMI saw a value in bringing people something new and different. By the time I began my career as producer that progressive thinking larger companies had basically disappeared when the very creative A&R people were replaced by people that were better and making money than discovering innovation. This task was left for independents record labels.
P. Your attitude as a DJ is admirable; you have created your own label, one of the best known independent labels. How busy have these years of work been?
R. Very busy. We’re usually working on numerous projects at the same time. I’m constantly coming with concepts and new projects to make music for. I never take a break. We’re always planning and preparing.
P. Your works are stunning, magical, with deep sounds, transcendent, always mysterious, and a bit visionary. What do you pretend? What are you looking for?
R. I believe what I’m really searching for has very little to do with people. I suppose the same as people dancing in a club aren’t really there for the DJ, but they’re there for a psychological and mental release. I’m suspect I’m trying to locate my inner self by creating music.
P. Your works are still being cutting edge sounds, very blues and tectonic textures. Rapid and profound, they move us into the matrix of sound. How have you get it? What technique do you use?
R. I think it is all from the way I see reality and the future. I generally use a technique of wiping away and trying to forget what I’ve done in the past so that I have more chances to make something new. I read and follow a lot of science fiction.
P. Your mix is Techno, with the bass lines always strong, along experimental sounds from recent years. Which is the secret of your success?
R. I don’t think “success” is the right term because I’m never sure if tracks are really being understood. In fact, I’m not very good at giving people what they want. I’ve rarely made music for this objective and a large acceptance and understanding does not show in the sales of our releases. I try to stay honest with my creative and technical capacity and never believe that what I’m doing is absolute – there is much room to expand.
P. The Bells is a classic, a hit everyone could recognize. How many years have passed since The Bells?
R. I made “The Bells” back 1993, but did not officially release it until 1995. It was a track that was made part of a collection of music I was making for only for myself to play as DJ. It worked so well and effective, that I thought it might be something other DJs could use. Those other tracks I was making for myself eventually developed into the label Purpose Maker.
P. In Sequence we are in front of a work between human and machine? Maybe between life and death?
R. Yes, this is correct. It is a movement between two points. Like the Exhibitionist DVD we released back in 2005, I thought this was important to create and present as a piece of history. A archive of the past to be reviewed and examined later.
P. How do you use music to open doors and discover universes?
R. I believe that doors to discover have always been open. It’s a matter of us taking the time to connect to realize. I think the structure of music has a formula of reaching this realization. Or at least an conceivable impression.
P. You will be playing at MUTEK.es what will you do there? Any surprise.
R. The presentation at Mutek.ES will be a concept entitled “Oneness”. A musical exploration on the subject of Singularity, focusing on the transformative existence from human to man - machine.
P. Thank you very much for you time. Best wishes.
R. Thank you very much.
lara pearl (lauraplanagracia), orbita magazine, n*26/02.2013
DANIEL AVERY future visions
Daniel Avery previously recorded under the moniker stopmakingme and has now switched to his birth name, which has become synonymous with forward-thinking electronic music. The FABRICLIVE 66 mix CD features original and previously unreleased material from Daniel as well as exclusives like The Asphodells (with Andrew Weatherall and Timothy J. Fairplay). Daniel is also signed to Erol Alkan’s Phantasy label.
Q. Dear Daniel, how are you? It is a pleasure to meet you.
A. I’m good thanks. I’m currently on a train to Paris where I’m DJing tonight.
Q. Your last album will be released on 19th November, FABRICLIVE 66: Daniel Avery. Is it a studio production for the club’s dance floors? What would you like to
achieve? Any award? Festival?
A. I’ve been collecting the fabric and FABRICLIVE mix CDs for years so it’s a real honour for me to be asked to contribute to the series. I ended up making something purely for the dancefloor: the kind of set you would see me play if you walked into the club at 2am. More so than anywhere else, fabric is a place where you cantake chances; the soundsystem, the lights and the crowd all mean that you can push things to different places. I’m really interested in that original, lawless spirit of acid house where anything goes so this mix is my take on that idea. The reaction to the CD has been great so far, it’s nice to release something that summarises what I do as a DJ.
Q. There are your own tracks and much collaboration. Tell us more about The Asphodells – Dry Heat [Rotters Golf Club] with Andrew Weatherall.
A. When I found out I was doing the CD, I called Weatherall up and asked him if he had any old tunes he wasn’t using. He asked me what kind of thing I wanted and that he would make something specifically for the mix! Andrew is a huge inspiration and has also been a great supporter of me this year. He has been making music with Timothy J Fairplay, a huge new talent from London, under the name The Asphodells. Their album (due out early 2013) is really amazing.
Q. Could you explain us how do you start as a Dj? Was it because of your passion for contemporary electronic music? Is it true that you started devouring your dad’s record collection? Do you remember which albums? How important was in your career as a Dj the discovery of Mary Anne Hobbs’s
A. Whilst I liked a few acts like The Prodigy and Daft Punk, I didn’t grow up with dance music at all: I loved guitars. I would religiously record Mary Anne Hobbs’ Radio 1 Rock Show every week and, from there, I discovered her more electronic and experimental Breezeblock show. A defining moment was an episode when The Chemical Brothers played some of their influences and something clicked in my head. The idea that club culture is informed by so many different styles of music and that’s what makes it so exciting. The moment they played Temptation by New Order blew my mind and, yes, I would rifle through my Dad’s record collection in order to gain more of an education. From there, it was DJs like Weatherall and Erol (guys who occupied both worlds) who really started off my love affair with techno.
Q. Then were the first warm-ups at south coast night clubs and your first jobs, what is the best from that epoch?
A. Yeah I started playing warm-up sets when I was 18. When I say that I had zero aspirations of becoming a ‘proper DJ’, I really mean it. I simply liked playing records on a loud soundsystem. A moment that really stands out is a time when Richard Fearless from Death In Vegas came down and played a Spacemen 3 record in the middle of some amazing Detroit Techno and it made total sense and got me even more excited about the heritage of dance music.
Q. Now you are releasing with Erol Alkan’s Phantasy label. Actually, he is one of the best techno artists. What do you expect from this collaboration with Phantasy?
A. I feel very much at home on Phantasy. I know that it’s a label who will allow me to try and push myself as hard as possible. I wasn’t interested in signing with a purely club label as that’s not what I’m about. Erol completely gets what I’m trying to do.
Q. Is a dream that has become reality to be a resident at Fabric? What do you recommend to the artists that want to be on the top?
A. Absolutely, it is one of my very favourite places to play in the world. I entered this scene by complete accident so I might not be the best person to ask for advice but I would say that nothing beats sincerity. Play the records you want to play and that you believe in – you’ll have way more fun that way.
Q. The first track, The Eagle [Phantasy] it has something feminine, stylishly like Nina Kraviz. Could you tell us about that suddenly beginning?
A. I knew that I wanted a sultry, female voice in the style of some of my favourite electroclash records and Scarlett Etienne was the perfect choice. She came into the studio and nailed it in my about ten minutes. It felt like the right way to begin the mix too.
Q. You have worked in remixes for Django Django and The Horrors in 2012. Are you planning more collaborations and album remixes for pop stars? Or is now time to go clubbing?
A. I only take on remixes where I like something about the original and I feel I can do something interesting with my version. I have nothing against remixing pop stars as long as I can do whatever I like with their song.
Q. “Water Jump” is excellent track. Melodic, classic, a bit of dark techno, is it Plastikman style? What you can achieve with this modulations and mixing techno, house and electronic music?
A. Thanks. There was no plan with that track other than I wanted to make something with dreamy female vocals that could be played during peak time in a club. When I make club music, that’s my only agenda: to make something I could play in my own sets. If other people like them then that’s great but that’s never the plan.
Q. Some tracks sounds like the electronic music of Crystal Castles or Fever Ray. Also, the album has the best of techno; it keeps the classical baseline and improves with new trendy rhythms. Tell us about your preferences and influences from Jeff Mills to Simian Mobile Disco.
A. Given my upbringing, acts like Neu! and Kraftwerk have as much influence on me as Carl Craig or The Chemical Brothers so I try and let them all have an
impact upon what I make as a producer and play as a DJ.
Q. “Game theory” achieves the best quality, the rhythm is very addictive, and it is immediately recognized by memory. What is that make it so?
A. Magnets is a fantastic London based artist. I actually signed that track to the Kill Em All Records label when I was working for them so I’m glad it ended up on the mix. I can’t really explain why it works and that’s probably what makes it so good, huh?
Q. In this album you have worked with labels as Cómeme, with Djs as Sneaker, Simian Mobile Disco. It is very recommendable the remix with JR Seaton and Gatto Fritto. Also the Miss Kittin, voices, sirens, pure electroclash style. Which is your favourite?
A. I love every single track on there but I guess the Gatto Fritto remix has been my favourite club record for a couple of years now. It’s a long, psychedelic trip and sounds completely unique. It sounds really huge in a club, too.
Q. In 17 Morgan Hammer – Libillule (Matt Walsh Remix) [Clouded Vision] there is asomething futuristic, messianic in the background, why?
A. Matt Walsh is doing something really cool on the London scene right now. His label Clouded Vision could easily become the city’s answer to Kompakt. He’s a great DJ/producer and has a really good ear for things – Morgan Hammer is definitely an exciting new talent. Messianic??! You couldn’t find a bigger atheist than me so that’s definitely not intentional!
Q. Now, we have finished. What do you like to do in the future? Studio or clubbing? What plans do you have?
A. Both! I feel like things have only just begun. I’m working on a lot of new material in the studio at the moment plus I’m still DJing every weekend. I’m really excited about what could happen in 2013.
http://revista.orbitamagazine.com/027/
http://revista.orbitamagazine.com/027/#/pagina/10
Artist: Daniel Avery
Title: FABRICLIVE 66
Label: fabric Records
Release: 19.11.12 (USA 08.01.13)
Pre-order: http://bit.ly/S2dcCd
There may be lots of people, most of all Daniel Avery, who are surprised at the direction his musical path has taken. A self-confessed late starter to the world of dancefloors, instead being drawn to the guitars of The Stooges and The Smashing Pumpkins in his teens, Daniel Avery has come a long way in a short space of time to make some of the most forward-thinking, original and diverse contemporary electronic music around. Devouring his dad’s record collection from a young age, it was the discovery of Mary Anne Hobbs’ ‘Breezeblock’ show that illuminated exactly what makes club music so special and propelled him to apply as a warm-up DJ at south coast club night, Project Mayhem; a job that showcased his broad and eclectic tastes, and a job that no doubt changed his life. Now releasing on ‘kindred spirit’ Erol Alkan’s Phantasy label and with an album in the works for next year, Avery has quietly but surely cemented his reputation as a producer steeped in musical knowledge, with an innate skill for breaking boundaries with each and every production.
“I feel incredibly honoured to be a resident at fabric. It is one of my favourite places in the world to be, let alone play. Not many institutions can say they’ve successfully supported new, underground music for so long.” – Daniel Avery
A mix made solely for the floor, Avery’s FABRICLIVE 66 is exactly the kind of set you would hear him playing if you walked into any club at peak time. But this is not thoughtless music; there’s a real need to take the listener somewhere with this mix, to take you by surprise and make you lose yourself within the expertly selected tracks. Featuring a mix of new and exclusive tracks alongside Avery’s own productions, this is also a celebration of the labels and artists who have both worked with and inspired Avery on a regular basis. In addition to ‘Effect Tweak’ made with Justin Robertson, you’ll find another exclusive track from Avery’s idol and supporter, Andrew Weatherall – in his guise as The Asphodells with Timothy J Fairplay – made purely for this mix. Alongside Avery’s ‘Naïve Reception’, all three tracks are arguably produced to capture that certain specific dancefloor lose-yourself-completely mentality. Something Avery manages effortlessly.
“It’s rare to be able to take such risks in a club, especially at a time when anybody can mix together crowd-pleasing fodder on their laptop. That’s not for me. I love weird records; that original, lawless spirit of acid house where the music is pulsing but will also throw in some mind-bending, psychedelic elements to knock you sideways and make you lose yourself within it. This mix is my take on that idea.” – Daniel Avery
Daniel Avery will launch FABRICLIVE 66 at fabric on Friday 9th November, alongside Optimo, Kink (LIVE), Tiga, Duke Dumont, Gingy & Bordello, Sei A, Matt Walsh and more TBC.
FABRICLIVE 66 Tracklisting
01 Daniel Avery – The Eagle [Phantasy]
02 Cowboy Rhythmbox – Shake [Cómeme]
03 Telephones – Kanal (Prins Thomas Sure Oppstøt) [Full Pupp]
04 Rework – Touch Yourself [Meant]
05 Nautiluss – Troubleman [Turbo]
06 Daniel Avery – Need Electric [Phantasy]
07 Daniel Avery – Naïve Reception [Phantasy]
08 Sneaker – You Think You Think [Uncanny Valley]
09 Simian Mobile Disco – Supermoon [Wichita]
10 Magnets – Game Theory [Kill Em All]
11 Daniel Avery & The Deadstock 33s – Effect Tweak [Solitary Cyclist]
12 Daniel Avery – Water Jump [Phantasy]
13 James Welsh – Something Borrowed [Join Our Club]
14 Daniel Avery – Taste [Phantasy]
15 Forward Strategy Group – Elegant Mistakes [Perc Trax]
16 JR Seaton – Way Savvy (Gatto Fritto Remix) [Relish]
17 Morgan Hammer – Libillule (Matt Walsh Remix) [Clouded Vision]
18 Viadrina – It’s OK (Prince Club Remix) [Klasse]
19 Miss Kittin – Girlz [Heidi Presents Jackathon Jams]
20 Raudive – Dancing And Slaving [Wires]
21 Kassem Mosse – Workshop 12 (A1) [Workshop]
22 The Asphodells – Dry Heat [Rotters Golf Club]
23 Compuphonic – Sequoia [Moodmusic]
Daniel Avery previously recorded under the moniker stopmakingme and has now
switched to his birth name, which has become synonymous with forward-thinking
electronic music. The FABRICLIVE 66 mix CD features original and previously
unreleased material from Daniel as well as exclusives like The Asphodells (with
Andrew Weatherall and Timothy J. Fairplay). Daniel is also signed to Erol Alkan’s
Phantasy label.
Death In Vegas
London Brixton Electric Show and end of tour
After the incredible success of tour Uk, France and Australia, from September 2011, Death In Vegas return to London to close the tour. The concert at Electric Brixton on Saturday September 29 presents one of the most fabulous and unique artist Richard Fearless aka Death In Vegas, one of the best in the electronic dance scene. With a stealthy return and the debut of his latest album 'Trans-Love Energies', Death In Vegas, has been responsible for producing some of the most unusual in this era, mixing electro, dub, rock, psychedelia, soul and "solid-gone" experimental sounds to create environments and atmospheres from another world.
Death in Vegas will close its tour in Mexico in October 2012. We hope it will be a success for its career.
The band components remain inside the London scene. Among the members of the band, a scene of young talented that will mark trend this season. The success is guaranteed in bands like TOY, the band who had a residence in Shacklewell Arms, the Americans Von Haze, Dark Horses.
Von Haze are a Broklyn duo. They play psychedelic dark tones, experiment with sounds and waves, and remember the giants of Goth, The Cure, having strong presence today. Loops, dark synths, staccato rhythms, mournful very minimal drums and vocals come together to create an atmosphere of anxiety and fatalism produced by drugs. Von Haze premieres his debut LP Kar Dee Ake Akk Pendu Sound on November 6 (produced by Richard Fearless) http://www.vonhaze.com/
TOY group are the most expected in this season. The psychedelic style characterizes this band of 5 members, Tom, Dom, Panda, Alejandra and Charlie. They started in Dalston with The Horrors, have been resident in Shacklewell Arms, and in the final concert tour with Death in Vegas and Von Haze at Electric Brixton London. TOY is produced by Heavenly Recordings on September 10, 2012. TOY perform at Heaven in London on October 25, 2012. http://www.youtube.com/watch?v=VDYMjvdCWpc&feature=youtu.be
Dark Horses launches new album on September 1. Posted by Richard Fearless and recorded and mastered by Hill Skinne in KeyClub Recording, Bentor Harbor, Michigan USA. http://www.deathinvegasmusic.com/2012/07/dark-horses/
To learn more,
http://www.deathinvegasmusic.com/music/
death in vegas, orbita magazine , n*25/01.2913
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death in vegas, returns to electronics. with 5th album "TransLoveEnergies" (Portobello Records / Goodfellas), sept.2011. recorded in michigan and shoreditch - london. death in vegas has been on tour to uk, france, australia. so, after seven years, return to london with new deep and asthonising sounds, fathomless!
first three songs plus your loft my
acid, mix indie sounds with electronics, next to iggy pop. coum and medication, more solids. soft melodies, in search for deeper sounds, near synth-pop accompanied witht he femenine voice of austra, katie stelmaris. witch dance closes the album, with enigmatic ending and mystical result. Richard Fearless describes: sound is ethereal, nocturnal, toxical sometimes. there is a collaboration with matthew dear. scissors, richard fearless voice reappears, drone reich, almost magic. lighting bolt, more intimate and personal. sound, music and art in one. trans-love energies, is an artistic compilation, using electronic synthesizers and minimal techno from detriot and chicago, and american rock'n roll, psychodelia folk and pop. as bbc sentenced, trans-love energies recorded in shoredich and remixed in michigan, results whimsical and misterious.
death in vegas ended tour in mexico, october 2012. among other: for noise festival, rock en seine, elektric picnic, fabric, koko, camden crawl, simple things, liverpool sound city festival, les docks, primavera sound, eurocultured, rockness, les ardentes, optimus alive festival, standon calling, off festival, summer sundae weekender, festival number 6
Q. hello Richard, how are you? it has been long time since your last album with DIV. what has happen all these years?
A. i was living in new york. studied photo, and produced with some other bands. meanwhile there, i formed black acid, the band
Q. where does the inspiration come from to produce the album trans-love energies?
A. is something concrete, very particular, it belongs to the experience i gained playing electronic music. a bit from detroit techno and more from chicago house. there is something in music that should be founded. something incomplete. i have tried to conduct all the emotions towards the music, from my own experience, love, depression, etc...
Q. richard, has defined your album trans-love energies as ethereal. what are yu interested in? what type of music?
A. last bands, dark horses, von haze, splash. out of the area i am used to work but they provide incredible sound.
Q. after seven years of electronic music, trans-love enregies results warm and unusual. which is your mission?
A. sincerely, there is no specifi formula. i reache each song differently. but, there is only one rule, if there is a sound that is not working on the desk, i delete it. less is more, you can supose how is the composition in electronic music, too many layers.
Q. could you explain us about the tour, which are the results, expectections, forthcoming?
A. the tour has been a massive exit, constantly surprised, all the heat we received, audience gave us all love.
Q. tell us a bit about your work as a dj. favorite clubs, lo-li-ta?
A. usually, play in razzmatazz, bcn, and low, madrid, i love it. is very cool. i have started again. the best is to get new music. buy the best albums ever made.
Q. among influences, linear movement, david bowie, perspects / le car, steve reich, terry riley, syd barrett, jackno, exuma, the black angels, howlin' wolf, dj hell, slam (dark forces), i-f, ron trent.
A. i belong to the great masters of electronic music from the 90's. but, i grew with stooges, velvet, on my adolescence. i worked in records stores, and fanatically started to collect vynil. i will be doing it for the rest of my life. i love quality music.
Q. a part of music, photo and video are your interests, you studied at new york, how doesimages influence your creation?
A. ther eis something unfinished on my photos. i search beauty lost, fragmented, broken, is the same that happens to music, i think. since i went to art school i worked in death in vegas. i realised video and artwork, it took all time of my life. i felt that it was all for me. but for a moment, the situation changed. manager died, meanwhile we were on tour. i needed to separate, break away, and the i got to new york. once there, studied photo and it has influenced my album.
Q. a part, you work as a producer, indie rock. how you contribute to music industry?
A. i like music that lasts, sustainability, not only a taste or a fashion, personally, i think as stronger it is, as beauty it gets. music with confidence, compromise and knowledge.
lara pearl (lauraplanagracia), orbita magazine n*24/01.2013
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