Thursday, April 18, 2013

L'intervista a Leo Anibaldi [Cannibald Records]



English version soon 
Iniziamo questa intervista con alcune delle figure che, a nostro avviso, hanno maggiormente ha influenzato la scena elettronica mondiale; la prima è James Stinson; hai avuto l’opportunità di conoscerlo…. raccontaci come hai vissuto quell’incontro e il quanto le produzioni dei Drexciya abbiano influenzato la tua visione…

James Stinton (Drecixya) è sempre stato presente nella mia flycase, continuo a nutrire grande rispetto… uno stile particolare e ben definito che arriva da un lungo percorso di sperimentazione e passione per questa musica. Ho avuto il piacere di incontrarlo più di una volta nelle mie gig, ma ricordo una serata qui al Vecchio Mattatoio di Roma indimenticabile…. James Stinton è sempre stato fonte di grande ispirazione per me come lo sono stati anche i Tangerine Dream ,John Coltrane, Miles Davis, Coil, ecc…

La seconda è Richard D James ovvero Aphex Twin, ma in questo caso è stato lui a venirti incontro….

Nel 1993 ho incontrato Richard D James al vecchio Rage di Londra, dove mi propose di pubblicare un progetto per la sua etichetta, la Rephlex Records. Fu così che iniziai a lavorare su il progetto - Void - dove ho provato a concentrare tutta la mia esperienza creando ambienti sonori inesplorati, andando nel subconscio, perché è questo che mi piace fare, dare sfogo all'immaginazione di tutte quelle persone disposte a comprendere.



Il tuo terzo album – Void - pubblicato per la Rephlex è un album ambient meravigliosamente algido * psichedelico * astratto [quattro>movimenti-Evocation > Void > Paragone > Evidenze] 11 tracce lisergiche che si chiudono con un silenzio di 3,03 minuti sul quale si è dibattuto e scritto a lungo, tirando in ballo anche John Cage. Untitled (b2) è una installazione sonora in cui il non suono diviene una percezione tattile della 303 ?

La traccia in questione riprende il titolo dell'album Void o vero spazio vuoto forse un modo per riflettere …..musica priva di musica ..

Sin dai primi anni 90 hai suonato e prodotto usando campionatori, tastiere, 303, 909… e continui a farlo, ma sei stato anche uno dei primi a lavorare con i sequencer digitali su Commodore e Atari. Come è stato il tuo approccio al digitale in quegli anni di sperimentazione ?

Ho acquistato il mio primo campionatore nel 1989, un Roland s 50 con 2 mega byte di ram; ricordo le difficoltà' per riuscire a suonarci come volevo perché era concepito per un altro tipo di uso… alla fine mi inventai un modo per piegarlo ai miei voleri. Ricordo bene quando acquistai il mio primo computer Commodore Vic20 per poi passare al Commodore 64, una tecnologia giovane e dalle scarsissime risorse hardware che mi consenti comunque di portare avanti le prime sperimentazioni sul beat; Anche con il mio primo Atari 1040 st, molto più dinamico e affidabile, si potevano solo scrivere gli arrangiamenti; la vera rivoluzione arrivò con l’Atari Falcon, dotato di scheda audio digitale ovvero l'avvento del Audio Recording. Devo dire che appena misi mano su questa tecnologia l'impatto non fu dei migliori in quanto il suono non era caldo ma piuttosto freddo, asciutto, troppo digitalizzato, così continuavo ad usare fondamentalmente la mia piattaforma analogica. Negli anni successivi ho provato tutte le piattaforme digitale esistenti a partire da Pro Tools e Apogee. Mi sono dedicato allo studio della sintesi analogica modulare grazie al Roland System 100 M, un synth che mi ha permesso di creare qualsiasi tipo di suono dalla KIK, a linee di basso molto personali e fu per me un illuminazione. Iniziai ad ampliare la mia collezione di Drum Machine come le Roland TR 606, 707, 808, 909, 727, Akai , Pearl Drum , Visco Space, fino alla scolperta del Syntex (Elka) una sorta di Moog concepito in Italia, sino ai primi ibridi digitale/analogico come il Roland JD 800. Oggi continuo ad usare le stesse macchine che avevo prima abbinato alla tecnologia digitale moderna e devo dire sono molto soddisfatto.



Rimando in tema, il digitale, inteso sia come software che come supporto, ha consentito a tantissime persone un approccio semplificato all’arte del djing e più in generale fa favorito una iperproduzione di musica elettronica nonchè la nascita di tante nuove etichette (forse troppe); come conseguenza (non gradita) ha portato con se la polverizzazione del mercato discografico e una sostanziale penalizzazione delle produzioni di qualità. Quale è il tuo punto di vista sia come artista che come label manager ?

Su questo tema c'è molto da dire, proverò' ad essere sintetico. Non sono contro i software moderni ma contro il sistema che gli è stato creato intorno. Sono ancora oggi un grande amante del vinile, ma non disdegno tutti gli altri tipi di piattaforme per il djing come :Serato, Traktor, Ableton.
Certo se un ragazzo oggi inizia la sua carriera senza passare per l'arte del missaggio ovvero la capacità di saper sincronizzare il beat, questo non va bene perché prima di affidarsi all'auto sync bisogna avere una profonda conoscenza o esperienza sull’arte del djing. Devo dirti che questi software sono di grande utilità, ma dipende sempre dall’uso che se ne fa. Io ho suonato più' di una volta con Traktor, ma usando 4 decks, con solo loop di 2 secondi o 3 al massimo, ed il risultato è eccellente perché mi da la possibilità' di improvvisare continuamente e rendere quindi le tracce irriconoscibili, grazie anche all'uso degli ottimi effetti in dotazione. Se invece Traktor viene usato solo per suonare una traccia insieme ad un’altra, come emulazione del vinile, bè allora non rimane molto da fare, una volta spinto il play e avviato il mix….
Il top per me è Serato perché la tecnica rimane quella di una volta, senza auto sync o altro tipo di aiuto dal software e devo dire che il feeling e stupendo. Ricordo poco prima della nascita di questi software e shop digitali gli artisti, su i cataloghi, erano molto meno e tutti piuttosto bravi perché la produzione di un lavoro aveva un costo non indifferente e quindi prima di produrre un individuo bisognava accertarsi del talento… oggi tutto questo non c'è più e ci ritroviamo in un mare di dj e un oceano di label… ognuno ha il suo perché? C'è qualcuno che ci ha meditato sopra… a partire da Beatport coinvolgendo quasi tutti in questo caos che è diventato il mercato delle produzioni musicali.
Tutti oggi possono vivere il proprio sogno da produttori di musica elettronica e i gli shop digitali lavorano e ingrassano i propri conti in banca con la politica dei grandi numeri. Chiunque può vendere la propria musica a prescindere dal valore. “Tu” con il tuo prodotto scarso valore, vendi pochissime copie e non porti a casa soldi, “loro” portano a casa una percentuale, contando su milioni di “tu” senza futuro…. E’ una politica del fare soldi e basta portata aventi anche da dj di fama mondiale, che conosco personalmente, che si “nascondono”, lavorando per alimentare questo sistema. Ecco svelato l’algoritmo perfetto per fare soldi. Io ho grandi difficoltà quando mi trovo davanti tutte queste label, non ci si capisce più' nulla… vorrei anche comprare un po' di musica digitale ma alla fine ritorno sempre al mio amato vinile. Anche il mercato del vinile discografico ormai è in decadenza, la tiratura massima di copie si aggira intorno alle 300 unità. Se penso al passato mi vien da ridere, vendere 300 copie prima era un fallimento, non un successo e così anche i dischi più belli passano in secondo piano. Bisogna dire che con l'arrivo della rete internet oggi si può costruire una carriera senza averne una veramente… è possibile creare una pagina come artista su facebook e comprare migliaia di likes al prezzo di un euro o peggio sul nostro amato Soundcloud è possibile comprare i play e i commenti… devo dire che si nota subito, anche quando etichette di nota fama, lo fanno per avere più facilmente visibilità. Io parlo per esperienza diretta perché più' di una volta o ricevuto emails fraudolente da questi portali .Prima di tutto io sono un audiofilo amante della musica e dopo sono l'artista e tutto ciò' non è accettabile.

Sempre nei primi metà degli anni novanta hai vissuto fondamentalmente all’estero; Londra e soprattutto Berlino; quanto sono state importanti queste esperienze nella tua formazione tecnica ?

Devo dire che amo viaggiare ed ho avuto la fortuna di realizzare dischi che da subito mi hanno proiettato nella scena mondiale ed infatti già a 19 anni avevo fatto un bel giro dell’Europa. Non credo comunque che abbia giovato alla mia creatività. La creatività è una dote che una persona ha dentro e non importa se si vive a Berlino,Londra o in Olanda; io credo non faccia alcuna differenza per la carriera di un artista. Quando andai a vivere a Berlino, fu per amore non per la carriera; oggi tutti si stanno stabilendo li' credendo di poter far qualcosa ma io ribadisco che 'e il talento che conta e basta.

Veniamo alla città di Roma. Una città, soprattutto nei primi anni 90, balcanizzata; conflitti fra quartieri, opposte tifoserie e opposte “fazioni” politiche che definivano non solo gli spazi, ma anche le relazioni; eppure tu e un manipolo di producers eccezionali, fra i quali, oltre te menziono solamente alcuni fra i più rappresentativi quali Lory D, Max Durante (che abbiamo avuto il piacere di ospitare nel nostro podcast series il mese scorso), Eugenio Vatta, Andrea Benedetti e i fratelli Marco e Fabrizio D’Arcangelo riusciste a fondare, nelle reciproche differenze un movimento che definì il Suono di Roma. Sei d’accordo con il mettere la Scena di Roma sullo stesso piano della Scena di Detroit ?

Io credo che si possa parlare del Suono di Roma come si possa parlare del Suono di Detroit che esiste ed è vivo. C'è qualcuno che ancora oggi si spaccia per il fondatore (del Suono di Roma) ma senza fare polemiche, io non mi ricordo durante tutte le nottate passate con Lory D,Eugenio Vatta,Andrea Bendetti di questa o queste persone anche perché, ne negli anni 90 questi individui o individuo venivano a sentirci suonare oppure a ballare e successivamente si sono appropriati di questo, come slogan - The sound Of Rome - Io direi, fate vostro ciò' che è vostro… basta prendersi i meriti degli altri e non basta vivere a Berlino e pubblicare biografie con meriti che non sono propri… siamo nel 2013 e parlate di quello che avete fatto… Io personalmente ho venduto più' di 30.000 copie di vinili. La storia parla da se, quindi, basta. Grande rispetto per i fratelli D'arcangelo ovviamente la mia discussione non si riferiva a loro.



Per buona parte degli anni 90, sulle riviste mainstream si è parlato di musica techno solo in termini di, musica di “destra”, soprattutto per la presenza di naziskin nei rave romani e comunque priva di contenuti. Verso la metà degli anni 90 i centri sociali e soprattutto a Roma il Forte Prenestino, scoprirono e alimentarono la scena riuscendo a cogliere la carica rivoluzionaria o quantomeno “differente” della musica techno. Quale è la tua opinione al riguardo ?

Roma, era ed è una città molto difficile, divisa in fazioni, tutti contro tutti… ricordo che negli anni 90 la presenza di parecchi nazi ai rave e non mancarono i problemi direi. Preferisco ricordare la bellissima gente che ballava e comprendeva perfettamente quello che stava accadendo in mezzo a tante mele marce.

Nelle tue produzioni passi dall’ambient alla techno, dalla jungle, all’acid, all’Industrial senza che si possa avvertire il benché minimo segno di incertezza. Che musica ascoltavi da ragazzo ? Ricordi il primo vinile che hai acquistato ?

Per me, la musica è tutto e non un solo genere. Sono un percussionista, arte appresa da mio padre e quindi adoro il break beat pattern, differenti, consecutivi e tutto ciò che mi fa muovere la testa in fase di creatività, quindi che sia techno o altro per me, non fa differenza è il groove che conta…..

Alcune tue produzioni come Full Immersion e Nothing Has Changed, entrambe del 1993, mi fanno venire in mente una parola: Jazz…

Si, il jazz lo adoro, sopratutto le produzioni più psichedeliche di Miles Davis, come Bitches Brew e anche tutte le ultime produzione di John Coltrane che realizzò' insieme alla moglie Alice Coltrane, ne cito uno in particolare, Infinity…



Dopo anni di assenza dalla scena, nel 2009 hai fondato la Cannibald Records, alimentando la scena techno nazionale con produzioni eccellenti sia in vinile che in digitale. In tutta franchezza, ci stai dentro con le spese ?

Come ti ho detto prima, ormai il mercato discografico è quasi morto o comunque in una fase di forte decadenza… quindi entra in gioco solo la passione e il cuore….

Ti lasciamo con l’immancabile domanda su i progetti futuri di Leo Anibaldi e della Cannibald Record?

Ho molte release in uscita e vi posso anticipare qualche nome, ovvero The Advent, Orlando Voorn (Format #1) (The nighttripper), Adam X, Claudio P.R.C., Ness, Donato Dozzy, Giorgio Gigli, Dino Sabatini, Light & Shperes (Gianluca Meloni e Francesco Cianella).










Wednesday, April 17, 2013

Leo Anibaldi at Svarionipremeditati Podcast #22





With great pride and immense pleasure, finally we have with us one of the few real talented and gifted producers in the Italian electronic scene; founder, along with Lory D, of the Sound of Rome, Leo Anibaldi is one of the best interpreters of the underground world scene.

For our podcast series Leo give us a liveset recordered at Core Techno [15.02.2013]

Born in 1972, Leo Anibaldi discovers his passion for electronic music at the age of 15. Thanks to the advent of early personal computers such as the Commodore Vic 20 and 64, he begins to create his first loops. After one year, Anibaldi starts to play in clubs under the pseudonym DJ Mc, when it was impossibile to find any trace of electronic beat in Rome. He became an enthusiastic analog synth collector and he decided to spend his daily life on the creation of beats and grooves. In 1990, Anibaldi begins his recordings career at ACV Records, where he will make more than 20 albums such as: Attack Random, Riders of the Future, Noise Generation, Muta, Cannibald and Aeon. In 1991, Anibaldi meets Lory D, and from a small garage located in the north of Rome, they start the alternative music movement soon known as The Sound of Rome, which spread techno music in Rome and the whole of Italy. In those years, Anibaldi concentrated in bringing his analog live set around the world, appearing at large events such as one of the first Love Parade editions in Berlin. In 1995, he decides to sever ties with ACV Records and moves to Rephlex, which released the album Void. 2008. Cannibald records was born, Leo’s personal record label and he is back with a new Ep and two albums, Leo Anibaldi's Classics '90-'95 (2009) and 2000 Cuts (2010). Cannibald records is the sublimation of twenty years of experience in the world of electronic music by a veteran dj/producer. Cannibald Records is devoted to the search and experimentation of new sounds and original grooves,in order to offer an always actual and timeless sound: from freaky house to weird electronica to the darkest techno tunes.

Tuesday, April 16, 2013

Nax_Acid at Technoise #11




nAX_acid aka Andrea Ruffino, born in 1982, started playing electronic music when he was 17, after hearing classic early Aphex Twin albums. Since then he started collecting vinyl and playing every kind of electronic music from hardcore to electro, from drum & bass to techno. In 2004 he started making deep minimal, acid and Detroit techno influenced tracks. In 2005 moved to London from his native Italy and started to work for ‘disappear here’ record label (Kompakt) started by Chris Spero and Antony Sergeant. His first release in December 2006, “Friends & Crocodiles” which was well received on the underground London techno scene. Since 2007 he has started to put together his own label project called Aconito Records. "The label is a sonic experiment with techno, minimal and with ambient and electronica, to create a new atmospheric techno voyage, which also works on the dance floor". After 3 years of studies and researches, finally graduated in Sonic Arts at Middlesex University, he keep researching and evolving his sound both as a producer and artist, introducing new sonic aspect in his music and performances.

Los Hermanos Network * Techno House mix by Soul Saver





Los Hermanos was originally a collaboration between Gerald Mitchell, Dj Rolando and Mike Banks of Underground Resistance. They raised the standard and destroyed the boundaries between Techno and House by fusing the funk and soul of Detroit Techno with the feel of latin rhythms and melodies after Rolando’s Departure to pursue a solo career, Gerald moved Los Hermanos in a slightly different direction without sacrificing any of the sound individuality or quality. Gerald Mitchell born and raised in Detroit’s West Side is a Musician Producer Dj, Band Leader, and Sonic visionary whose music has made a huge impact on Detroit house and techno. From his early work on Underground Resistance's Interstellar Fugitives (UR 044 aka Soul Saver) project to his Celestial Highways classic on Metroplex and early house productions on Soul City records 1997,1998 distributed by 2030 submerge.
his music has always been recognized by it soulful strength. Gerald’s work with Underground Resistance/ Mike Banks and Dj Rolando led to the anthem 'Knights of the Jaguar; and now he has brought his experience as a live musician into a group that expresses jazz fusion, gospel and funk into stunning electronic music worldwide know as LOS HERMANOS. for discography www.discogs/loshermanos After the release of the album “On Another Level” and international tours as Los Hermanos Live, Gerald has begun his solo career with a new project ready for release late fall 2010

Donato Dozzy at Electronique.it Podcast #200




In recent years Donato Dozzy has emerged as one of the leading contemporary techno DJs. He has developed a strong following for his distinctive tripping, hypnotic take on techno music. Ignoring fads and trends, Dozzy's approach to electronic music – both as a DJ and as a producer – is based on a deep understanding of what has come before him. Being introduced to Disco, Italo, Reggae, Dub and other forms of electronic music at an early age, he first began exploring DJ'ing in 1983 under the mentorship of a DJ from Bari, called Maurizio Laurentaci. By the late 1980s he was discovering techno and acid with his friend Leo (now producing house music under the name Lerosa).
Despite his love for electronic music, he continued his studies, eventually graduating from the University of Rome with a Doctorate in Politics. This education, combined with his encyclopedic knowledge of music, later earned him the nickname of "The Professor". In 1999, he began an ongoing residency at the famous Brancaleone club in Rome, where he further honed his skills as a DJ. In 2001, he was as part of the band, The Kitchen Tools, which were signed to Virgin records and had some commercial success in Italy.
This was not enough to satisfy Dozzy, and in 2004 he moved to Berlin. From 2004 to 2006, Dozzy held a residency at Panorama Bar, where extended sets at the end of long nights of partying allowed him to further develop his slow-burning, hypnotic groove.
A watershed moment in his career came in 2007 when he was invited to play at the Labyrinth festival, an outdoor electronic music festival in Japan. While 2007 went well, its main purpose was laying the foundations for his return in 2008, when Dozzy would play the closing set at Labyrinth. It would prove to be a turning point for Dozzy, as he played one of the most memorable sets of techno that had ever been witnessed at the festival. This set went on to be podcasted by mnml.ssgs and Donato's popularlity grew exponentially.
Since then, Dozzy has quickly developed as a producer and a DJ, since playing at many of the most important clubs around the world, such as Berghain and Fabric. He has become popular not only for his DJing, but also because of his distinctive productions: like his sets, they explore the trippier side of acid, techno and ambient. In 2008, after experimenting with his first label (Dozzy Records), he started Aquaplano, a label that has quickly gained a cult following for its limited pressings and high quality mix of ambient and techno. He has released on a wide range of other labels, including: Mental Groove, Curle, Time to Express, Mule, Further, and Prologue.

Friday, April 12, 2013

Freddy K at Reclaim Your City Podcast 014





One of the most important exponent of the rave roman movement in the early 90's: with his radio show and records shop "Virus" and several releases on "ACV Rec." becomes one of the best techno artist in Italy and Europe. Alongside his first album “Rage of Age” 1994 (3rd place on the french and german magazines “Out Soon” and “Frontpage”) produces several remixes for Robert Armani, Dave Clark and Adam X. Collaborates with Sandro Nasonte for Elettronica Romana LTD. and Re-Mix recordshop. Plays in the best italian clubs such as Jaiss, Cellophane, Red Zone, Goa, etc. Attendes historic techno/house festivals like: Evolution 1 (1995), World Dance Convention, Garden of Eden, Metropolis 1 in Switzerland, Arcadia Paris in France, Megarave in Holland, raves and events in Belgium, in the club “MDM” Moscow, Culture Box in Copenhagen and during the “Italian Fashion Fair” in 1996. With his staff was the offical public relator who represents Italy at the “Energy” in Zurich and produces in Rome the one night event “Oxygen”. Resident in the project called “Diabolika Level One” at the club NRG in Ciampino (Rome) and for various years at the “Jaiss” club and the Cosmoproduction events in the “Fortezza da Basso” in Florence. 2010 starts the label "Key Records", partner on "M_Rec LTD" and his artists management"K1971", in terms to discover new talents and support famous artists.
Now based in Berlin where collaborates with Tresor Club for a series of parties to promote his booking agency "Unbroken". Since 2013 is resident techno dj at the event "Homopatik" at ://about blank Club Berlin.

Detroit Techno Militia * The Grid * Episode 3/4




Detroit Techno Militia is a record label and a street level DJ/Producer collective dedicated to preserving the legacy of true Detroit electronic music and its proliferation around the world. They take pride in contributing to a tradition that has deeply inspired electronic music aficionados the world over. Detroit Techno Militia soldiers work to maintain and preserve the significance of techno made in their native city, Detroit, Michigan, USA.
The collective started as a group of like-minded individuals who have similar inspirations and beliefs regarding to Detroit Techno; where it comes from, where it is, and where it is going in the future. There are currently two united factions of elite DJs, Producers, and Live Performers. The DTM Home Team is made up of performers currently residing in the Detroit Metropolitan Area: T.Linder, Darkcube, DJ Seoul, Neil V., DJ Psycho, and Annix. DTM Recon:313 is made up of Techno Militia members residing in locales across the globe: The Mercenary (Belgium), Doc (New York, NY), Loner.9 (Charlotte, NC), Maxx T (France), Dimitri Pike (Germany), and Shawn Rudiman (Pittsburgh, PA).
In early 2007 Detroit Techno Militia formally launched their record label in a partnership with Cratesavers Muzik. After three very successful 12" vinyl EP releases, DTM001, DTM002, and DTM003, they amicably split with Cratesavers and took all of the responsibilities in-house. Their next two 12" vinyl EPs, DTM004, and DTM005 were independently released and distributed. Many of these releases have been charted and played by some of the biggest international names in techno music. DTM's music is regularly featured by legendary DJ, Dave Clarke on his radio show "White Noise" on the Dutch national radio station, 3VOOR12. Today, the Detroit Techno Militia continues to release music on their own vinyl label, their digital label: "DTM Digital", and other internationally distributed record labels.

"It's a battle for the soul of the music"

The Score at Radio UR




+++ tracklist +++

Words From Atlantis
Function - Gradient - Ostgut Ton
The Martian - Skypainter - Red Planet
The Martian - Wardance - Red Planet
Steve Rachmad - Virton Upgraded - Music Man
UR - Aguila - UR
Mark Flash - Dark Symphony - UR
DJ Bone - Revival - Subject Detroit
Jeff Mills - Alarms [first mix] - Purpose Maker
Jeff Mills - L8 - Purpose Maker
DJ Bone - The Music [accapella] - Subject Detroit
UR - Analog Assassin - UR
UR - Actuator - UR
Electric Soul - Come On Baby - Direct Beat
UR - Nannytown - UR
MIA - Beat Mechanic - Local 3000
The Other Side Of Space - Techno Drivers - Metroplex 

Emptyset at Secret Thirteen Mix #063





Formed in 2005 by American-born musician James Ginzburg and British contemporary art curator Paul Purgas after meeting through the consistently fruitful Bristol, U.K. music scene, the pair found that, while their day-to-day backgrounds differed, their musical reference points seemed to match. Emptyset's debut release, the Acuphase EP, came in 2007, followed later that year by the Isokon EP. These early 12"s drew heavily on minimal techno, and it wasn't until the release of Emptyset's self-titled 2009 debut album that the duo's original concept came into fruition. The album explored the sound of reprocessed sine waves through various compressors, EQs, and amplifiers, feeding back on themselves and creating a throbbing, bass-heavy sound that drew as much from the Bristol bass music scene as it did from techno. Their latest work "Material" on Subtext Recording has just been released in March 2013

Thursday, April 11, 2013

Alhek - April podcast



ALHEK is Alessandro Sisti, a producer, sound designer and mastering engineer from Italy. His first approach to electronic music production was in the early 2000. For few years he left the production, but in 2008 he returned and attended a course in sound engineering in Rome to improve his professional skills.
After working as sound engineer in various projects, he decided to come back to electronic music production, getting to work with some labels and producers from all around the world. At the begin of 2012 he released his first solo album as"ALHEK" called "Work One" produced by Neurotraxx Recordings. Afterwards he get contacts with important records label such "Genesa Records" and "Soluxion Records" where he released several works, both original and remixes, also in collaboration with Dubit.

Different World liveset at Sektor 909 [29.03.2013]





Different World (Claude Young + Takasi Nakajima)
2 brothers born in different countries but of the same mind who encompass an entire wealth of electronic music history in their performance.

Claude Young (Detroit USA) -
one of the most respected and accomplished DJ / Producers to come from the home of techno. His solo Dj sets are the stuff of legend and he has remixed and produced records for so
me of the greatest names in the business from Kevin Saunderson, Carl Craig, 4 Hero, Octave One, Sven Vath, Alter Ego and a host of other names to long to mention. His DJ mixes are among the most popular on the market having compiled DJ mixes for K7!, Jeff Mills AXIS records, Sony Music Japan and may other labels. He has headlined almost every major event globally and entertained audiences in America, Spain, Germany, Slovenia, China, Scotland, Austria, Australia, France, Croatia, Switzerland and many other countries.

Takasi Nakajima (Tokyo / Fukui Japan) -
one of the greatest DJ / Producer in Japan. Nakajima began playing dj and making track at the age of 16 with he's brother Yukio Matsuyama. He learn the turntable skill and music history from Matsuyama.In 1997 he was a finalist in the DMC regional DJ competition in Japan. He has one of the finest and varied collections of music in Japan playing everything from Dub, House, Techno to Hip Hop,Funk,Soul anything black music.

Young and Nakajima became close friends after Young relocated from Glasgow to Tokyo in 2005. Both having a strong love of music the two decided to form Different World in 2006 and began playing at their own resident events in Japan gaining a loyal following of hardcore music lovers. It is still a fresh memory when Different World played at DEMF in year 2007.Their new Vinyl has been released from A.R.T the label of Kirk Degiorgio 2011.


Francesco at witclub.net podcast #52




The techno DJ and producer Francesco (real name: Francesco Abbove) was born in Moncalieri, Turin in 1990. His passion for the music begins at a young age with a special interest for the black one in its various forms that he still maintains. Its true focalization borns a few years later, when he moves to a little town in the province of Treviso, where he begins to attend the first clubs and partly devotes himself to the electronic music. After a few years spent in the studio writing and recording, he decides to move to new frontiers to explore other realities so he decides to settle for a few months in Berlin. This experience allows him to better understand some important aspects of nightlife and offers him a new open-mindedness that he has never tasted before.
Returning to Italy he does not lose a lot of time in completely devoting himself to the electronic music. Here he starts his own label called "Francesco Series" which includes his works released on vinyl in limited editions.

The Exaltics at Electronic Explorations 248



For many years now The Exaltics have been holding up the flag for underground electro and subaquatic techno bass. Undeterred by trends and fashions the production outfit from Eastern Germany has been releasing its music via labels like Creme Org, Bunker, Last Known Trajectory and the project's own Solar One Music imprint, set up in 2006.
2010 turned out to be a break-trough year for The Exaltics, who signed to The Hague's legendary Bunker label for a monumental three-part album series. Dark and sinister, clear-cut analogue synth funk and crunched-up 808 and 303 driven acid bass, thats the best words to describe The Exaltics sound. Scenario Electro Techno from beyond!

Dubit at K1971 Focus on Podcast





Alfeo Pier, a.k.a. Dubit was born on September 21st 1985 in Molfetta (Ba), Italy. Born from the meeting between the sound design, the techno and IDM, the project Dubit ranges from dub techno to industrial and intends to preserve the groove as a stimulus to the movement by creating melody with dynamic percussion, clicks and glitch influences. The intent is to tell a story upsetting the canons with atypical changes but direct. The creation of the sound has no limits: from hardware to software,from analog to environment recordings. Potentially all the elements that we use in life are instruments for our music. Always involved in new types of live performance act with the use of midi controllers and microphones, owner of Soluxion Records [www.soluxionrecords.net] he lives in Berlin and is active playing in Europe.

Sunday, April 07, 2013

Galaxy 2 Galaxy Live




Galaxy 2 Galaxy was originally the name of UR’s Mike Banks’ 1993 EP, which featured life-altering tracks like Hi-Tech Jazz and Journey Of The Dragons_. Unlike some of the previous output on UR (_(song-title)Living For The Night being an exception), Galaxy 2 Galaxy featured romantic visions of Detroit (and beyond) techno soul. Especially Hi-Tech Jazz remains among the greatest techno pieces of all times, embracing soul, funk and – dare we say it – jazz as obvious influences. This one will be played forever. Since then, this signature only appeared on one record with a remix for the Raiders Of The Lost Arp, though various members of Underground Resistance have adopted the moniker from 2005 onwards for a live group. Performing their fusion of technofied funk and syncopated jazz changes, a fluctuating ensemble of twelve musicians make up the Galaxy 2 Galaxy crew, and their appearances at festivals and concert halls round the world continue to spread the message of interplanetary defiance and unity. If you ever wonted to know what the terms future jazz or Detroit techno soul ever meant, Galaxy 2 Galaxy and Mike Banks will show you.










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Saturday, April 06, 2013

Pacou at BSF Radioshow 036





Pacou was born and raised in Berlin where he still lives and works at present. Back in 1989 the sounds of House and Techno music took off there. He became a music collector and went to many now legendary parties and club events, which greatly influenced his future career. In 1996 he released his first record under the name "agent cooper" (on the label "Raw Music") and in 1996 he released his first single on Tresor as "Pacou". Soon after, Tresor released Pacou’s first album "Symbolic Language", and he became a resident DJ at the club.
The year 1998 marked a substantial progress in both DJ and production aspects of his career. He started playing around Europe, Japan and Australia, and changed over to fulltime work on music and performing as DJ. In 1998, Pacou founded his first own label "LL Records" to release some of his own material.
A third LP "State of mind" was released in 2000, furthermore singles on the labels Djax, Konsequent, Music Man and others. Tour dates again ranged from Brasil to Australia. Tresor released another single "Last Man Standing" in February 2004 and a whole album "The Berlin Sessions" produced with Juan Atkins in 2005.
His current project is the record label "Cache Records", started in 2005. So far Pacou have played in more than 30 countries, and the story will continue... spreading the good vibe.

Van Bonn - Smoke Machine Podcast 079



Concentration, Capture, Release. This sequence forms the basis of Van Bonn’s sound. He applies an obsessive focus on detail, enabling him to establish the various layers in the track that create a unique depth to his music.
Based in Berlin and Copenhagen, the producer and DJ Reimut van Bonn is already gaining valuable recognition for his dub techno releases – with his contributions for labels such as Telrae & Brouqade, his remixes for Trapez, and other work for labels such as Traum resonating in headphones and on dancefloors since 2011.
Van Bonn’s instinctive feeling for sound and timing is inherent in every of his dub influenced techno tracks. The wide open temporal tier allows the listener to dive deeply into the different layers and explore for themselves. Mighty kickdrums, subsonic basses and the trademark chords of Van Bonn drive his tracks forward. The development of rich soundscapes is an integral part of his musical creativity. It provides a basis for his sweeping DJ sets to absorb the dancer and transport them into a world far distinct from reality. The relaxation felt in Van Bonn’s smooth tunes highlights the liquid flow of his music. This is occasionally contrasted with the harder, more ecstatic dub techno tracks – a combination that inevitably creates tension. His distinct characteristics define him to be a versatile and impressive artist with the potential to find his way into the inner circle of Techno.
During the first quarter of 2013 the specifically founded label ‘Van Bonn’ will be born and will release Van Bonn’s future music.

Ness - Erratic Podcast #41




Ness became interested in electronic music in the late 90's. In 2004 he started djing, taking inspiration from various genres going from trance to pure experimentation. The interest in music led him to attend various courses and audio engineer for some years and the conservatory of his hometown.The need to express his emotions through music led him to experiment and research in recent years that better reflect his sound.Since 2009 he founded his own label Mono Records with his friend Bettosun, and releases music in labels such as Prologue, Sonata and Varianz.The experience gained over the years leads to define his DJ sets that are characterized by a strong array of techno and house at the same time.

Friday, April 05, 2013

T. Linder from Detroit Techno Militia * The Grid * Episode 1/2



Detroit Techno Militia is a record label and a street level DJ/Producer collective dedicated to preserving the legacy of true Detroit electronic music and its proliferation around the world. They take pride in contributing to a tradition that has deeply inspired electronic music aficionados the world over. Detroit Techno Militia soldiers work to maintain and preserve the significance of techno made in their native city, Detroit, Michigan, USA.
The collective started as a group of like-minded individuals who have similar inspirations and beliefs regarding to Detroit Techno; where it comes from, where it is, and where it is going in the future. There are currently two united factions of elite DJs, Producers, and Live Performers. The DTM Home Team is made up of performers currently residing in the Detroit Metropolitan Area: T.Linder, Darkcube, DJ Seoul, Neil V., DJ Psycho, and Annix. DTM Recon:313 is made up of Techno Militia members residing in locales across the globe: The Mercenary (Belgium), Doc (New York, NY), Loner.9 (Charlotte, NC), Maxx T (France), Dimitri Pike (Germany), and Shawn Rudiman (Pittsburgh, PA).

In early 2007 Detroit Techno Militia formally launched their record label in a partnership with Cratesavers Muzik. After three very successful 12" vinyl EP releases, DTM001, DTM002, and DTM003, they amicably split with Cratesavers and took all of the responsibilities in-house. Their next two 12" vinyl EPs, DTM004, and DTM005 were independently released and distributed. Many of these releases have been charted and played by some of the biggest international names in techno music. DTM's music is regularly featured by legendary DJ, Dave Clarke on his radio show "White Noise" on the Dutch national radio station, 3VOOR12. Today, the Detroit Techno Militia continues to release music on their own vinyl label, their digital label: "DTM Digital", and other internationally distributed record labels.

"It's a battle for the soul of the music"

Giorgio Gigli at Invite's Choice Podcast 102




After a deep exploration of several kinds of electronic dance music, in a broad evolutionary path, Giorgio Gigli's music has assumed an intense and personal form of communication.
The modules emerging from his compositions run across a process where moods are transformed into waves, layers and substrates that are ready to catch and overwhelm the listener without changing original content. His skill is to transmit an accurate signal using undiscovered frequencies inspired by desolate and noir tinged landscapes.
Giorgio transforms his material. Voids, pitfalls, drones and dilated melodies become intricate, sophisticated, and hypnotic rhythmic equipment that runs the risk of constantly changing classicist techno aesthetics in a conceptual derivation close to his soul.
Giorgio loves ambient music that dues to its descriptive power allows him to analyze and render every vibration and vision, both during production and his long dj sets, where he explores empty rooms that are filled with vintage recordings, ethereal drones and field sonority.
This particular working method is also reflected in his harder sets, where rhythm increases tension while it is moving forward unchallenged through industrial echoes, robotic tricks and building grooves that produce shaped variations of his meaning.
Substance thickens to provide a thoughtful and reflexive listening experience.
All these elements are poured into his project "Zooloft Records", a platform in constant update and in constant assimilation between old-school ethics (strongly linked to vinyl usage) and futuristic sounds which owe much to the futurist aesthetics of sixties sci-fi movies.
Zooloft is the materialization of a precise idea through a precise message: We Still Try !

The Noisemaker - BTE Podcast #306




Riccardo was born in 1987 in Treviso, a town near Venice.
He had his first approach with electronic music at the age of 11. A simple interest turns into something more at the age of 14, when he starts performing his DJ sets. In 2007, after a few appearances at some local clubs and underground parties, he decides to turn his attention towards the construction of a Live Set, without however omitting the charm of vinyls in his DJ sets. From 2009 onwards, you can find several works on various labels under the name The Noisemaker. He is currently working with labels such as Par, M_rec, Raw Waxes, Wood n Bass. In his LiveSet he brings out an hypnotic and aggressive atmosphere.
In 2010, feels the need to deepen his knowledge in the arts and decided to enroll in the course of New Technologies for the Arts Academy of Venice. 2013 is the year of the launch of his own label NMKrec, that will be the main holder of his work.


Inigo Kennedy at PoleGroup Radio [20.03.2013]



Born in North London 1972, Inigo Kennedy was playing with a Fisher Price turntable by the age of two and spent the majority of my early years taking anything electronic, computerised or robotic apart - progressively things around me turned into a laboratory. During the late 80s I took more than a passing interest in the first wave of hip hop as it developed into a more experimental and electronic format. Mantronix 'Bassline' remains an all time favourite. Inspired by the sound Paul Hardcastle's '19', first heard on the Radio One hip hop show and seeming to defy categorisation, there unfolded an extended period of experimenting with tape dubbing, manual and labour-intensive editing and the misuse of cheap guitar effects pedals. Next came the energy of acid house and break-beat hardcore which was for me a natural progression and firmly planted the seeds of what was to later become a great passion for techno. Throughout this time I was equally fanatical for all kinds of obscure alternative, industrial and electronic music and spent much of my time trawling through record fairs for unusual material. Listening to John Peel's shows on Radio One became a regular source of inspiration and this has come full circle more recently with John Peel regularly playing my material on his shows. The beginnings of my studio, the acquisition of a Roland D-50 and Casio FZ-1 in 1994 and the assembly of a rudimentary home made mixer and filter unit lead to the start of techno production in earnest - and a seriously deep knowledge of how these machines could be used and misused. This period of production culminated in winning of the 1996 Fosters Ice Breaker for Techno on John Berry's Techno Show on Kiss 102 in Manchester, UK. Winning the Fosters Ice Breaker lead to my first release 'The Bond EP' in June 1996. A bright orange record that some people in Manchester at the time may have remembered appearing in their hands outside a few club nights. Throughout this period, early in 1997, several pseudonyms sprang into existence to support a number of different projects - from the harsh industrial sounds of Tomito Satori on Exhibit and Helki Torsnum on Sheer to my increasingly experimental loop based output as Reducer on Instillation. In their own right, these alter egos have received much praise and continue to develop. 

Monday, April 01, 2013

Roberto Figus - Brothers Techno








Born in 1976, in 1990 he began a passion for Techno,Dub Techno,Minimal,Electro,Deep his style was created by various artists such as Pink Floyd,Kraftwerk,Jeff Mills,etc. ..... big fan of vinyl. the vinyl is part of his nature as a DJ lived in different cities of Italy and Switzerland, France! In 2001 it's time to take his style as a producer begins to compose his music with machines groovebox from Roland and Korg. In 2007 he moved to his native Sardinia,trying to find his own style as novation begin the first productions in digital format its first production in 2011 is on CD is his first vinyl in limited release  In 2012 comes up with Parralel Clouds EP with a remix by Jeroen Search is produced by the label Cannibald of Leo Anibaldi techno pioneer made Italy; Roberto Figus collaborates with several labels looking to extend his style