Monday, May 07, 2012

Federico Leocata - Svarionipremeditati Podcast #15




we have the big pleasure to present another young talent of the electronic italian scene,
Federico Leocata [Frustrated Funk/WéMè Records/Le Galassie di Seyfert]

Federico Leocata is an italian audio-visual artist. As a visual artist has exhibited in Athens, Thessaloniki and Catania, and then expand his artistic research in the field of sound, based on analysis within the human psyche. Discovered by Heinrich Mueller (Dopplereffekt, Drexciya), released its first EP in 2010 for the belgian Wémè Records, attracting the interest of labels like Frustrated Funk and Last Known Trajectory. Federico makes scientific electro sinewaves with dark attitude and melodic outfit, his music comes in the folds of the mind.
His performances consist of a live show where the sound and video works in sinergy. The art of Federico Leocata rappresents the psychotic state of the contemporary man with references to unconscious and to jungian studies but giving a personal interpretation of them. His artworks communicate a sense of coldness and a state of alienation, but they are full of mystical and esoteric elements; they project on psychotic dimension that expresses the hidden dark side of the human mind.

Federico Leocata [Frustrated Funk/WéMè Records/Le Galassie di Seyfert/Last Known Trajectory]






1) Sei nato in Sicilia, vivi in Sicilia, ma la tua prima produzione è per una label Maltese, la Pinkpube, quindi nel 2010 “Perfido Incanto” un 12” per l’etichetta belga WéMè Records. Insomma la solita storia, bisogna lavorare al di là delle Alpi per avere visibilità…

Purtroppo è la verità, sono pochissime le labels italiane davvero degne di nota che cercano di uscire fuori dai canoni musicali stereotipati (penso, ad esempio, alla Sauroid dell’amico Giosuè Impellizzeri). In Italia siamo ancora molto “provinciali”, leggo querelle inutili sull’uso della tecnologia digitale, si da troppa importanza allo strumento e troppo poca al risultato finale.

2) La WéMè Records ha prodotto artisti del calibro di DJ Stingray, Acid Kirk, Ceephax, Cylob, Global Goon e “Perfido Incanto” è stato apprezzato e sostenuto da Heinrich Muller ovvero Gerald Donald (solo a scriverne il nome mi tremano le mani)… raccontaci di questa storia e di come è nato questo rapporto…

Tutto risale all’estate del 2009. Ad agosto morì mia madre e sentì l’esigenza di ringraziare Mueller, la sua musica mi aiutò particolarmente in un periodo davvero difficile per me… parlammo moltissimo e, qualche mese dopo, inviai dei miei brani per avere una sua opinione, ricordo che mi rispose alle 4 del mattino chiedendomi il permesso di poterle inviare a delle labels a cui potevano interessare: Rephlex, Micron (l’etichetta di Stingray) e ,ovviamente, la WéMè, che fu subito interessata. Non credo di esagerare dicendo che fu uno dei giorni più belli della mia vita.

3) Il podcast che ci hai regalato è di una bellezza straniante – materia[organica] in un reticolo insinuante e contorto di materia[inorganica] parlaci della tua visione….

Il mio approccio con la musica è totalmente concettuale, nasco come artista visivo e baso la mia ricerca artistica sull’inconscio, sull’Ombra di ogni essere umano, per questo molte volte il mio sound viene percepito come angosciante… il mio unico intento è dare voce al nostro lato più nascosto.

Infatti, in molte recensioni si fa riferimento alla tua musica anche in termini di angoscia, oppressione e dolore; ho anche letto che la tua musica è di matrice Junghiana...

Credo proprio che il dolore o l’angoscia non siano assolutamente insiti nella natura della mia musica ma che, toccando l’inconscio dei fruitori, sia una condizione di ascolto quasi inevitabile, non cerco affatto di rappresentare il lato doloroso della vita, semplicemente quello inconscio. Ho scoperto Jung quasi per caso. Circa 6-7 anni fa mi sono imbattuto in varie critiche cinematografiche di uno dei miei film preferiti (studio cinema al DAMS), “8 ½” di Fellini, e, incuriosito dai vari riferimenti junghiani, ho voluto approfondire ed è stata una vera illuminazione: le sue opere, oltre ad essere per me spunto di riflessione, hanno un effetto terapeutico non indifferente.



4)Come dicevi prima, nasci come artista visuale e i nei tuoi liveset i visuals hanno un forte impatto.

Come artista visivo mi sono sempre mosso nell’ambito della video arte e dell’illustrazione digitale: credo nell’interdisciplinarietà tra le arti (il mito del gesamtkunstwerk wagneriano è in me abbastanza presente), ed il connubio audio-video è per me di fondamentale importanza. Recentemente sono stato contattato da una docente dell’Accademia di Belle Arti di Catania e credo proprio che ci saranno novità in tal senso.



5)Tutti i tuoi video sono autoprodotti, in due parole “differenza e ripetizione”

 Alcune volte fungo da performer, altre volte mi affido a delle ragazze. Girai il video di “The Mirror” l’estate scorsa in un garage e fu un esperienza molto edificante, la ragazza è stata in grado di seguire le mie direzioni pur non avendomi mai visto prima. La ripetizione è presente ovunque: nei video sono presenti gli stessi movimenti, nella musica troviamo sequenze che si ripetono, e dentro di noi troviamo messaggi dell’uomo primitivo che vengono ripetuti tramite l’inconscio collettivo.



6) il tuo rapporto con i visuals non è limitato solamente ai tuoi video o alle tue performance live, ma hai anche all’attivo diverse partecipazioni a mostre e esibizioni con videoinstallazioni e opere fotografiche

Faccio parte di una galleria italo-belga dal 2005 e ho esposto a Catania e in Grecia. Ho abbandonato (quasi del tutto) l’illustrazione digitale perché ho comunque trovato un equilibrio artistico che per molti anni ho cercato.



7)Quest’anno hai già al tuo attivo una release in digitale per l’etichetta bresciana Le Galassie Di Seyfert, “L'Homme Qui Te Regarde” e una release in vinile per l’etichetta belga Frustrated Funk, “Phantasmo Obscuro”. Cosa di dobbiamo aspettare per il futuro ?

Uscirà tra non molto “Phantasmo Obscuro” in versione digital, a giugno uscirà in digitale “The Man From Another Place” per la Last Known Trajectory (la versione in vinile uscirà alla fine dell’anno). Da poco tempo ho totalmente rinnovato il mio studio e sto lavorando a due nuovi progetti, non ho assolutamente idea della data d’uscita.


Ken Ishii liveset at New Frontier Festival [15.07.2000]




One of the most innovative and experimental composers who have made a mark on the International dance scene. Ken Ishii started making his version techno at a time when Japan was not yet at the crossroads where all things techno came together. Already putting out tracks on the cult label R&S since ’94, Ken’s sound soon broke out of the confines of a specialist audience and took the world by storm, receiving support from world class artists such as Dave Clarke, Luke Slater, Thomas Schumacher and many more.He has since been touring Intensively throughout Europe, Asia and America. 


Takaaki Itoh livest at Hegane // Somewhere in Osaka [28.04.2012]]








Techno hit Japan hard in the early 1990s. Surprised, Takaaki Itoh was quickly impressed and intrigued with this new sound. The unique style of beats revealed the gateway to a new world of underground music in Japan - something he had never heard before. Surprise slowly gave way to addiction when Takaaki Itoh was exposed to the sounds of such artists and labels as Underground Resistance, Derrick May, Jeff Mills, Hardfloor, Sven Vath, Harthouse, Warp and Rising High. This was his sound, and deciding he just couldn't get enough of it, in 1994 Takaaki began to organize his own techno parties in his home of northern Japan. By providing a fantastic lineup, his parties quickly became a success.  In 1996, having decided that it was time to start making his own tracks, Takaaki Itoh emerged to purchase the vital instruments to begin production. After sending out three finished projects to various labels, Electracom UK was fortunate enough to put Takaaki’s first material out. This moment was something he will never forget, as he was finally able to hear his own music on vinyl. Several releases followed with Electracom as his tracks began to appear in magazine DJ charts in well known DJs from around the world. 

Takaaki Itoh livest at Carpe Diem / Spain [01.05.2005]









Techno hit Japan hard in the early 1990s. Surprised, Takaaki Itoh was quickly impressed and intrigued with this new sound. The unique style of beats revealed the gateway to a new world of underground music in Japan - something he had never heard before. Surprise slowly gave way to addiction when Takaaki Itoh was exposed to the sounds of such artists and labels as Underground Resistance, Derrick May, Jeff Mills, Hardfloor, Sven Vath, Harthouse, Warp and Rising High. This was his sound, and deciding he just couldn't get enough of it, in 1994 Takaaki began to organize his own techno parties in his home of northern Japan. By providing a fantastic lineup, his parties quickly became a success.  In 1996, having decided that it was time to start making his own tracks, Takaaki Itoh emerged to purchase the vital instruments to begin production. After sending out three finished projects to various labels, Electracom UK was fortunate enough to put Takaaki’s first material out. This moment was something he will never forget, as he was finally able to hear his own music on vinyl. Several releases followed with Electracom as his tracks began to appear in magazine DJ charts in well known DJs from around the world. 

Derrick May – Pulse Radio Podcast #070 [03.04.2012]




Of the Belleville Three, the cadre of early Detroit producers who tested the limits of spirit within electronic dance music and changed the integrity of the form forever, Derrick May's reputation as an originator remained intact despite more than a decade of recording inactivity. While Juan Atkins is rightly looked at as the godfather of techno, with a recording career beginning in the electro scene of the early '80s and encompassing some of the most inspired tracks in the history of dance music; and Kevin Saunderson is the Detroit producer with the biggest mainstream success through his work with vocalist Paris Grey as Inner City, May's position as an auteur eroded slightly during the 1990s due to a largely inexplicable lack of activity. As far as influence counts as part of the equation, however, May recorded the techno tracks which top dance producers point to as the most original and influential. The classic Derrick May sound is a clever balance between streamlined percussion-heavy cascades of sound with string samples and a warmth gained from time spent in Chicago, enraptured by the grooves of essential DJs like Ron Hardy and Frankie Knuckles. May's Transmat Records label was the home of his best material, cuts like "Nude Photo," "Strings of Life," "Kaos" and "It Is What It Is," most produced from 1987 to 1989 as Rhythim Is Rhythim. And though his release schedule all but halted during the 1990s, he continued DJing around the world and honed Transmat into one of the most respected techno labels in the world.  Derrick May was born in Detroit in 1963, a single child raised largely by his mother. At the age of 13, he began attending school in the suburb of Belleville; there he met Juan Atkins and the two began trading mix-tapes, Atkins providing May's entry into the world of Parliament, Kraftwerk and Gary Numan. When his mother moved to Chicago, May stayed in Detroit with another friend, Kevin Saunderson, to finish school. By 1981, Atkins had taught May and Saunderson the essence of DJing as well, and the trio formed Deep Space Soundworks, a collective existing to present their favorite music at parties and clubs. May and Atkins also began working with a local DJ named the Electrifyin' Mojo — the man who first introduced Atkins to Kraftwerk and early synth-pop — by creating elaborate megamixes for use on Mojo's radio show.   After high-school graduation May attended university on a football scholarship. He soon tired of the academic life though, and returned to Detroit, where he worked in an arcade. During his frequent trips to Chicago to visit his mother, he had gotten hooked up with Chicago's familial house scene, then in its infancy. May was fascinated by the warmth and community feeling engendered at spots like the Power Plant and the Music Box, where DJs Frankie Knuckles and Ron Hardy used elaborate turntable set-ups and reel-to-reel machines to create mastermixes which re-invoked the spirit of disco even while pushing music forward. May brought Saunderson to the clubs several times as well, and stayed in Chicago for up to a year. When he again returned to Detroit, the need for a club to call his own caused May and the Deep Space family to found the Music Institute. It soon became the hub of Detroit's ever-growing underground musical family, a place where May, Atkins and Saunderson DJed along with cohorts Eddie "Flashin" Fowlkes and Blake Baxter. The club invigorated a badly fractured sense of community for many residents, and changed the lives of second-wave technocrats like Carl Craig, Stacey Pullen, Kenny Larkin and Richie Hawtin.    

Terence Fixmer @ Puresque Purecast o12




Terence Fixmer is one of France’s most illustrated characters of the techno scene, of which he has been at the forefront for over 10 successful years. Bringing his dark, atmospheric sound to prestigious dance floors that range from Berlin's mecca of techno to Paris ‘ Rex club. Equally at ease in the club or at a pure techno festival, Terence reached this respected level, without ever succumbing to excessive promotion or subscribing to the mainstream.  Terence Fixmer’s sound, which deftly avoids repetition by developing soundscapes that appeals to the club crowd, whilst still maintaining musical depth and integrity. Sombre, defined by surging rhythmical structures, Terence’s music appeals as much to dancing feet, as it does to the searching soul.  He above all preserves an original style, an increasingly experimental, simultaneously ruthless and unrelenting interpretation of modern Techno, instantly recognizable.

Kuniaki Takenaga / Silver Sphere Drone Promo Mix





Techno, Electro, Industrial DJ & producer born in Sapporo, Hokkaido, Japan (1977). Kuniaki Takenaga’s music career began in 1997 influenced by The Prodigy, Ken Ishii, Fumiya Tanaka and the djs’ at the famous Juliana’s Tokyo club.  Kuniaki has founded his own label Dispired Recordings in 2008 and the rest is history.Takeshi el niño The work by the solo of collaboration EP of o and Marco Rane and Peter Gual has been released. Remix EP is being produced with Dispired Industrials now. Remix EP of Gayle San and two works of the compilation are scheduled to be released from Elektrax in 2010 this year. It is an artist who cannot take his/her eyes off to the development in the future.


Friday, May 04, 2012

Marvin-UR040 // Detroit Mix 11





My name is David Peacock, my dj name is Marvin-UR040 I first got into dance music as a clubber in the early 90's going to Raves up and down the country and spending alot of time in clubs in the North East of England.  In 1995 I became interested in djing and started buying records, soon after I bought some dj equipment and started learning how to mix. It was 1999 when I decided to enter one of my techno mixtapes in the Bedroom Bedlam competion of Muzik Magazine, the tape won and I was featured in the magazine. In the time between winning Bedroom Bedlam in 1999 and 2005 I continued entering competions as well as playing in bars and clubs, in 2001 a tech house cd came second in the Reader mixes section of IDJ magazine, then in 2003 a techno cd came 5th again in IDJ magazine which I then won in 2005 now called Raw Talent. The type of music I play is mostly house or techno from the 90's to now with an enphasis on Detroit, I also play a slower minimal set but since being given the number 040 (Underground Resistance) I try and play Detroit influenced music.


Different World @ Electric Avenue #013 // Proton Radio [13.02.2012]




+++ tracklist +++

Intro
Mirko Loco - Corvus
D.I.C.E - What Ever [Unreleased]
Rennie Foster - Good Time Charlie [Unreleased]
Adam Jay - Breach
Woo York - Vacuum [Unbalance Remix]
Psycatron & Detroit Grand Pubahs - NvrSayNvr
Nic Fanciulli - Materia [Robert Hood Remix]
DJ Dex - SaxGroove [Unreleased]
Federico Gandin - A Sonic Day On The Milky
Soul Designer - The Soul Is Back [Luke Slater Remix]
Uner - BassBoot
The Fear Ratio - Mas
Ray Kajioka - Unit
Terrence Dixon - Minimalism [Unreleased]
Psycatron - Deeper Shade Of Black
Robert Hood - Living It Up
Hijack & Brade - Boogie
Maarten Mittendorff - One Simple Question
Plastikman - Mind In Rewind [Steve Bicknell Lost Mix]
Paul Woolford & Psycatron - Stolen [Dub Mix 2]
Ds And Cs Feat Meeshel - Trouble
Plastikman - Mind In Rewind [Carl Craig Prog 47 Remix]
Son's Of The Dragon - The Journey
Different World - Think Twice [Unreleased]

Samuel L Session liveset at Sterne [04.06.2012]









Sweden’s veteran DJ and producer Samuel L Session aka Samuel Larsson makes his first appearance on Detelefunk with the “Blue Ripple EP". A gem of a single that keeps things deep, yet for the dancefloor, showing his unique blend of the Techno & House genres. Starting production back in 1997 with his own Cycle imprint he broke into the music scene with releases such as “In Your Box” & “Check Out This I Bring". It wasn’t long before his production skills were in demand from many other labels, and he released singles on labels such as Kanzleramt, Phont, Hardgroove, and Monoid. As things started to take off he started his 2nd label, SLS, on which he had even more success with tracks like “Merengue". As his production developed he decided in 2006 start a new label, Klap Klap, to focus more on the direction his music was taking him, a funkier, deeper sound. This resulted in yet another worldwide hit with “Can You Relate” featuring the Detroit Grand Pubahs own Paris The Black FU, being picked up by DJs such as Steve Rachmad, Joris Voorn, Slam to name a few. Remix requests soon followed getting attention with his remixes of Funk D’ Void’s “Diablo” on Soma + Blake Baxter w/ Trevor Rocklife’s “Visions Of You” on Carl Cox’s label Intec. Producers such as Kevin Saunderson, Jerome Sydenham, Audio Soul Project, Len Faki and Alexi Delano among others, all had their music tweaked and remade by the man. Blue Ripple is a groovy tech house extravaganza, teasing throughout with alluring strings. While Staccato & Odyssey pick the pace up more and head for those late night peak time dancefloors with, driving kicks and filtered stabs.


Jeff Mills liveset at Panoramix [08.08.1998]










Jeff Mills, along with Robert Hood, Carl Craig, and Joey Beltram, is one of the biggest American names in techno. Championed for his music's relentless pursuit of hardness and his stripped-down, almost industrial DJ sets, Mills is the latest in a long line of Detroit-bred talent to take on an international reputation. A founding member of noted Motor City institution Underground Resistance, Mills helped build the artist roster and label ideology (as well as much of its back catalog) with partners "Mad" Mike Banks and Robert "Noise" Hood before moving to New York in 1992 to pursue more vigorously his solo and DJ career (with a resident spot at the legendary Limelight and a recording contract with the noted German label Tresor). (Although rumors of bad blood between the early UR crew have been denied by all involved, Mills' decision to split was apparently total, with Banks all but repudiating his involvement with Mills and Mills distancing himself from the continuing political militancy of Banks and the UR organization.) . Mills' UR-related releases (including "The Punisher" and "Seawolf") are stripped-down and erratic, fusing elements of hardcore acid and industrial techno to the sparse Detroit aesthetic. Not surprisingly, his post-UR sound hasn't eased a bit, although UR's penchant for the four-track has been replaced by higher-quality production. Prior to his involvement in UR, Mills was a DJ at Detroit public radio station WDET (he was also studying architecture at the time), spinning everything from Meat Beat Manifesto and Nine Inch Nails to Chicago house and underground Detroit techno.