Skopje, Marcedonia has played host to some of Europes most infamous clandestine music assaults in recent years, effortlessly fullfilling the criteria thats required to manufacture precocious artists and this weeks guest is direct evidence of it. From actively absorbing the foundations of music theory from a young age, hes engineered an ecclectic acoustic artery thats been integral to the succeses of the Djibouti EP in 2009, in turn cementing his position firmly amoungst the Dogmatik dynasty. This event transpired concurrently with the founding of his own imprint, Argumento Music Group, alongside Aleksandar & Darko.

Pausing to reflect, the majority of the electronic populace would feel as though they were nearing consummation, though its his approach to personal development and an impetus thats aligned with acidic progress thats directly facilitated the forthcoming material on Tangible Assets – an introduction to the chaotic summer thats now on Europes doorstep.

Stojche orchestrates the illustration we’ve conceptualised that doubles as this weeks broadcast.

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Kn:  Lets start by reflecting back to your late teenage years growing up within the music scene of Skopje.  What defining moments inspired you during that period that directly impacted and shaped the artist you’ve become today?

S:  Definitely the underground techno scene in Skopje initiated my inspiration.  There were countless parties back in the day happening every week in different venues.  The godfathers of Techno like Derrick May, KMS, Carl Craig were regular guests here.  I was impressed by the fact of how the dj art can control the senses and the emotions of such a large group of people.  I guess that fact had a major impact on what I’m doing today.

Kn:  The production quality of your records suggests an approach to sound design that is meticulous.  Was there a defining moment when things catalysed for you in the studio?

S:  When I started learning how to produce, it took me a lot of time, and I’m still learning new things and sharing experiences with friends everyday.  My friend Darko introduced me to the basics and from there on I had to invest more in the learning process of the actual music theory.  My uncle is a professional musician, so I took some time with him in the process of learning the scales, harmony and chord progressions until I was confident enough with the process.  I then began the process of sending out demos to record labels, once I was happy with the level of maturity contained in my records.

Kn:  Looking back, the release of your Djibouti EP in 2009 on Dogmatik presented an undeniable magic.  It also marked another turning point in your career.  Can you tell us how that particular release effected your own evolution, and what have you taken from it and adapted to your approach today?

S:  Dogmatik records definitely opened a new chapter in my career and I’m glad that I’m a member of the Dogmatik family.  My 1st record on the label received a tremendous amount of support and was a regular spin-out in the boxes of a lot of djs.  From there, the relationship has been constant and as a result of my releases on Dogmatik, I have received extra work for many other projects.

Kn:  Argumento Music Group was also cofounded in the same year, and represents a number of strong releases.  Tell us how the opportunity came about and the importance that Argumento has to the region and the local music scene?

S:  My partners and I (Aleksandar & Darko) came up with the idea of building up a platform that is going to give us the opportunity to spread the music that we believe is worth being heard and played.  We started to collaborate with people from the region (Kink, Regen, Marko Nastic, Subotic) that already gave their contributions for the label and also guys like Franklin De Costa, Alex Arnout, Ryo Murakami, Bearweasel, Anton Zap etc; all artist’s who’s music we respect, and who we believe have impressive catalogues to date.  We keep searching for new music and new artists to bring on board in the future.

Kn:  Artist’s have something more to say than the music they’re making. ‘Tangible Assets’ is your latest endeavor as a label owner.  What was the impetus in setting up a new ‘vinyl only’ platform and what vision do you have for the labels future development?

S:  The idea came out spontaneously.  I felt that I needed a solo platform to express myself deeper.  I didn’t want to compromise on sound anymore and I wanted to share those ideas with people that are still playing the vinyl format and have enormous amount of passion and love for it.  Tangible Assets works without any kind of promotion.  There is a limited amount of pressed records, so being vinyl only (as with most of the music I buy) it’s a fresh and interesting method for me.  Somehow I’m more emotionally linked to my records than the digital stuff.  And I’m really doing this just for the love of music.

Kn:  The forthcoming release on Tangible Assets showcases another extension and sound of your persona.  Is your production approach toward each project/label one that requires a change of mindset or does it all distill into one subconscious move?  And what does this second release represent for you, both musically and personally?

S:  My production approach is the same for each project.  There is no specific criteria.  I want to keep pushing my sound with every opportunity.  Yeah, the second release on Tangible Assets was a similar process as the first release; distilled from a subconscious move.  I’m always keen on bringing various moods, themes, drums and melodies to one piece of vinyl.  I’m driven by the feeling in any given moment in time.  By listening and playing this release over and over it’s obvious where my influences are coming from.  I was always influenced by the Detroit Techno, Chicago House, the Dub Techno etc.  I’m always trying to combine all these various influences in my personal creative manner.

Kn:  Culminating all your prior experiences, what stands out as the most valuable piece of advice that anyone has gifted you?

S:  Be yourself, follow your heart, do what you feel is right.  Don’t ever try to steal or copy someone else’s work, because it is going to turn out that you are just a cheap copy without any proper value!

Kn:  As the electronic music world broadens, so too does the ecosystem in which it operates.  As a label owner, what exciting possibilities or opportunities do you see emerging in the future for our music?

S:  It is a great phenomenon that a lot of new young guys are getting involved.  Also some of my heroes from the start when I got involved are still doing a great job.  I think that the hyper production of tracks today is setting up higher norms in terms of quality of music, that is, if someone wants to breakthrough.  The industry is craving hard work, uniqueness, personality, timeless tracks and soul rather than just bongos and loops.  So, I like it this way because I see a bigger challenge when I’m in the studio.  The same for Argumento, we’ve created a network of people that we believe is a strong team behind the label to contribute in reaching our objectives.

Kn:  As we move forward toward the European summer, whats on the horizon in terms of releases, studio time, the labels and events?…and stepping away from music momentarily, are there any burning ambitions that need to be satisfied along the way?

S:  Big studio action will be going on during the summer, I’ll be working on new material for Tangible Assets, preparing the new Argumento releases, and will be playing again at Exit Festival, some european gigs, some local gigs……and when we step away from music, I’m a big football fan.  I want to see a much stronger Manchester United next season.  I’m a huge fan of Man Utd.  This week I saw the title ambitions fading away for United.  My booking agent Tom Craven (Illusion Recordings) is from Manchester, also a UTD fella, I want to celebrate the 20th title at Old Trafford together with him and the rest of the Red devils.

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Links:

Soundcloud  //  Facebook  // Juno

Bookings:

info [at] theillusionagency.com

Not every artist so easily conquers the various battles that arise throughout their career and emerge with a fresh wave of constructive energy and purpose.  We’ve got no doubts Jonas Kopp falls into that category and the past two years have been somewhat of a renaissance in an ever evolving disposition.  Releases across Ostgut Ton, Stroboscopic Artefacts, Perc Trax and Ilian Tape have all been the direct result of 9 years of perseverance and with his first LP in the pipeline, chaos perfidiously seems to materialise briefly in the periphery.

Closer to home, his own label Traut will be the medium for what’s going to be a heavily consistent release schedule comprised of Shifted, Perc, Brendon Moeller as well as supporting the growing pool of talent from his base in Buenos Aires.  That in itself should displace ones attention, though if we were to assume impetus, this weeks broadcast should do a portion of it justice.

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Kn:  Almost this time last year you were winding up to be in the thick of an extensive European tour after years of hard work.  What effect has the last year had on you and where are you now musically in contrast to the year that proceeded it?

JK:  The last year was a little bit special because I was coming producing with a huge inspiration in 2010, I had a lot of solid releases and the result was a big tour around Europe in March 2011.  Then I had a couple of emotional episodes in my personal life which made me feel without inspiration at all, I just made 1 EP as Manzel and some remixes.  In September 2011 I started to work hard again till today.  I’m really focused at the moment setting up my first LP, making a lot of music and setting up my next European tour in May which looks really interesting at the moment, so I can tell you that I’m happy right now.
Kn:  Your recent radio residency at Delta Club FM is surely something to be proud of given the fact your broadcasts are regarded as being nothing short of outstanding.  Is it giving you the chance to showcase other facets of your own take on electronica that normally wouldn’t be heard on the dance floor?

JK:  For sure, I’m really thankful to have the opportunity to show different facets of mine in this way.  I’m a music lover so I like to have all that good music in my bag and play different concepts at different opportunities, moments or places.

Kn:  Whilst we’re on the the topic of freedom, there are a lot of producers/DJs out there, more so than ever, that are perhaps at a point in their career where they feel as though they need to market their sound to follow trends. Thoughts?

JK:  There are a lot of producers right, also there are a lot of them who aren’t looking around or following trends and their sounds are fresh and different.  There are a few in the mass of global producers who are looking to or following trends, most of them thinking about the money or in it to be famous quickly, basically.

Kn:  It’s been some years since you founded Traut music which hosted some great releases.  What’s the status of that project at the moment, or are there other avenues you’re throwing around that you’d like to pursue?

JK:  Traut Muzik is more strong than never, a lot of solid releases are coming up… I can tell you some names for example, we are to release a Tom Dicicco’s EP featuring Shifted remix, Bleak’s EP featuring Skudge remix, and some other names coming up like Markus Suckut, Truncate, Perc, Brendon Moeller, Ilario Alicante, Furesshu and some Argentinean new comers like Oswld and Espen Lauritzen.

Kn:  Tours, time in the studio, life – where are you headed from here?

JK:  I almost spend all the time of my life in the studio, then I like to stay with my little daughter Chloe… as well as touring around Europe twice a year for 2 months on each tour.

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It’s been some 14 years since the release of Brikha’s Groove La Chord and it’s been a continuous period of achievement and demading presence that’s seen his studio work and live performances parading effortlessly across the world.  The inspiration fuelled by the likes of Depeche Mode, Front 242 and Jean Michel Jarre from the younger years set an unprecedented substratum and if we were to discern his perspective on tomorrow we’d find ourselves reinventing and standing at the gates of an intricate renaissance.

Moving towards the commencent of another Australian tour, we’re taking some time this week to dicipher what’s becoming an ever fluctuating transit comprised of the haunting atmospheres most commonly associated with the soldiers that reside in the fortifications of aesthetic decadence.

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Kn:  ”Art Of Vengeance” is now home to all of your original material.  A conscious departure from releasing on an array of various labels no doubt.  What was the main motivation behind starting your own imprint and what plans and aspirations do you have for the imprint in the near future?

AB:  Basically having more control over my music in all its aspects, the sound, the choice of tracks and the artwork.  The plan for now is to just keep releasing ep’s with a theme/city/subject…something that has inspired me.  I’m also listening to other peoples stuff but nothing confirmed at the moment.  The idea of the label is to release anything I like so it’s not like the label will only have a certain sound, I already tried to show that by the first 3 releases.

Kn:  You’ve been producing for many years now – since the age of 16.  What currently inspires you to keep forging the path you’ve been on all these years?  Where do you see the momentum of your soul taking you from here?

AB:  I am, as usual, all over the place when it comes to styles.  One day I feel like making melodic stuff, another banging techno and another more downtempo disco/italo/deep-house…it’s a mess!  I don’t really plan what to make, I let my mood and inspiration guide me… with the help of my ears. 

 
 
Kn:  2011 was a healthy year in terms of remixes and releases on your new imprint.  What projects are you currently conceptualising and bringing to fruition?

AB:  Something connected to japan, something connected to detroit… more info will follow when I have it all planned out with the final artwork and such.  I’m also trying different co-ops with vocal stuff, remixes of non-techno tracks… just trying to keep things interesting for myself.  But I’m definitely putting out 2 more ep’s this year and some remixes seem to be on their way; stay tuned!

Kn:  Since your highly publicised tour in 2008, technologies have shifted and emerged.  What has changed since then in your approach to live performance, your live setup and in the delivery of your live set, which for the most part is unrehearsed?  What should Australian shores expect this time round in celebration of your ‘Deeparture In Time’ tour?

AB:  Well the main difference was already made 2006 when I switched from hardware set-up to my laptop based one.  I’m still doing the laptop live-set but just like with the hardware, I don’t have any arrangements, bridges, track order or anything prepared.  Each sound is separated, kick, hihats, snares, percussion, basslines, chords… everything.  I’m the one controlling, launching and manipulating the songs and the order of them as I go along.  So, I don’t really know what people can expect, the crowd and feedback I get is as a big part of my live-set as my own input is.
Kn: As we transition into 2012, are there many aspirations in life that you still have your heart set on achieving?

AB:  Just try to find inspiration again, it’s hard when you have to be creative all the time with music.  You can’t help but think rather than just feel.  I try to do whatever sound I feel like but at the end of the day I get bored of doing 4/4 tech/house whatever.  As I mentioned, I have been starting to talk and work with other people at this point and something I have never done is working with other producers or musicians.  I’m tired of sitting home alone making music.  I’m going to try the “band” thing…

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Aril appears this weekend 10th March for the LGM crew at Bar Soma, Brisbane, Australia.

Links:  Art of Vengeance  /  Facebook  /  Myspace  /  Beatport  /  Discogs

Tour Dates:
Friday 9th March – Royal Melbourne Hotel, Melbourne
Saturday 10th March – Bar Soma, Brisbane
Sunday 11th March – The Clubhouse, Canberra
Saturday 17th March – One22, Sydney

 
Osijek, Croatia is our domicile this week and the borders of Hungary and Serbia traverse it.  Sunčica Barišić, (aka: Miss Sunshine) has constructed a thorough and consistent directive throughout the past decade.  If we were to place that period in an appropriate context, it would be riddled with heavily medicated rhythms colluding with the realisation of appreciating the harmonious ally in a balanced life.  It’s more so a spectacle if anything when an individual is able to implement it into their daily routine whilst effectively defending the foundations of their character.

Her releases and performances have reflected the illustration we’ve canvased thus far and it most certainly is evident in the work that’s just been released in the form of the L’Amour EP, as well as a dense touring schedule across Europe and South America.  What we consider just as admirable though, is she’s certainly one of the more truly genuine contributors to the scene and if you’ve taken the time to spend time with her it would become apparent immediately.

This broadcast operates as an annex to a career that’s cementing itself as one destined for further successes.  The next hour will corroborate that claim.

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Track List:

01. Six Fingers – AY Area [Labrynth]
02. Miss Sunshine – Broken Desert [Tic Tac Toe]
03. Khz – Thurst [FullPanda]
04. Miss Sunshine – Revenge [Tic Tac Toe]
05. Volster – MVO [promo]
06. O.L. – Knochenbrecher [Delirium]
07. Miss Sunshine – L’amour [Monocline]
08. Six Fingers – Conflict Place [Labrynth]
09. Antoine Caesar &Timur Valiev – Whisper of Mars (Etapp Kyle Remix) [Indeks]
10. Conforce – Revolt DX [Delsin]
11. Rebekah – A Lighter Shade Of Pale [Stolen Moments]
12. Mike Wall – Cosmin Kick [Hidden rec.]
13. Reagen – Siphon Had The Swine Flu (Attemporal Remix) [FVF]
14. Miro Pajic – Dark Butterfly (Suck My Juicy Pecker Remix) [Tic Tac Toe]
15. Attemporal – Att2 (Ness rmx) [Att series]
16. Jeroen Search – Config 1.0 [Mottoguzzi]
17. Nihad Tule & Bauri – Nudge [Drumcode LTD]
18. H&S vs EDA- Run it (Miss Sunshine low-pressure mix) [EarlyDub rec.]

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Kn:  Your home town of Osijek, Croatia, shares equal boarders with Hungary and Serbia.  How do you think the cultural propinquity of these countries influenced your creative pursuits growing up?

MS:  In the beginning probably a lot cos the only source of information was from our neighbours, especially from Serbia cos we have such a big history together.  Maybe this kind of tightness, in the beginning, was a problem for artists from the East Europe.  We were developing very slowly and everything was coming to us delayed, and I always felt like I was a few steps behind everything.  But with the growth of the internet everything changed and I was now closer to the spotlight of electronic music.  Information and music came to us much quicker and I could refine my sound under all these numerous influences.
Kn:  Previously you have mentioned that music is your life.  Can you recall the deciding moment that gave birth to the vision now fully embraced as your career in music?

MS:  Music production is the most beautiful thing that has happened to me as a musician.  As we spoke in the last question, this is something what came to me late too, after almost 9 years of Djing! I am very excited about every second spent in my small home studio and in creating something that others will love to play too – a beautiful feeling!  This is something that gave my journey as a musician another shape and dimension.  My first steps into production with Volster as “Sunshine & Moree” project and later my first solo EP “Hush” on Monocline records was something that changed my life.  From that point on I could express my self in the way that I felt was missing before when I was only a dj.

Kn:  You’ve recently joined forces with the Tikapama agency, a sure sign that things are heating up in camp Sunshine.  How has life changed for you over the past couple of years as your career continues to build momentum?

MS:  Oh yes… life has changed a lot, especially the last 3 years was a big roller coaster for me.  I am now living the life of a musician, every free moment I spend in the studio and on the weekends I am touring.  I am glad that you notice Tikapama agency, a very fresh and young agency (with very nice artists) which I hope will help me with organization and bookings, leaving me more time to be creative.

Kn:  Life has a way of keeping us on our toes.  Despite our best intentions, everything can change in the blink of an eye.  Even a thoroughly planned tour can go awry at a moments notice.  How do you keep your cool when things begin to fall apart?  Any particular mantra’s or habits that keep you sane and focused in this hectic world we live?

MS:  I can say that I am a pretty calm person in the case of emergencies.  I had many moments in my 14 year DJ career which came out differently then I planned.  From missed flights to stolen bags of vinyl, crazy promoters who didn’t think they should do something that they were obligated to etc…  My reaction on all this was pretty much the same, at first I get so nervous like I am having a small panic attack and after this 2 minutes I am perfectly aware what my next move should be, and with a perfectly clear head I am moving forward to solve the problem. In the end everything comes out good and as one of my friend says: “You need to learn to enjoy in that kind of moment too”.  Nowadays my release is making music.  All things that bother me or make me happy will come out through my music.

Kn:  On that note, can you share with us a moment in your life when a gig or tour went horribly wrong?  What did you learn from this experience that has served you since?

MS:  Ahaha yes, I learned the most from that kind of situation.  The main thing I learned is that you need to believe in your feelings.  The worst thing that ever happened to me was definitely in 2010, when I had a tour with QOMT project (with Viktoria Rebeka).  First we had a gig in Colombia and after that we were supposed to continue our tour to Mexico.  When it was time to go to the airport the Mexican booker called us with some bad suggestions and when we arrived to the airport we found out that she hadn’t even booked our flight tickets!  She reserved it but in the end she didn’t pay for it.  Wow… that was a shock!  We were so lucky that our return trip was from Colombia and that we had sooo nice hosts, they offered us to stay one more week plus they found us 2 more gigs while we were there.  We had the time of our lives! This year I am playing again in Colombia (but this time as a solo act) and can’t wait to see again all the nice people who helped us so much!  As the saying goes, there is something good in every bad.

Kn:  Moving forward, 2011 saw a consistent stream of quality releases with your trademark dark, swirling minimal stamp.  Any particular goals you have set for 2012 and beyond?

MS:  I am constantly working to improve my sound, exploring the possibilities of software and hardware I am using and possibilities of my self.  I am very happy cos in February my new EP “L’amour” is coming out on Monocline and in March/April I have a new EP “Revenge” on Tic Tac Toe… also many remixes are signed too. Would love to spend more time also touring around, schedule is pretty tight already, and I am really looking forward to my upcoming Colombian tour and other cool gigs around Europe.  I think this year will be full of fun and hard work, just the way I like it.

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Links:  Facebook  /  Soundcloud  /  Myspace  /  Youtube  /  Tikapama

As this weeks broadcast goes live, the night lights of Buenos Aires will be collectively instating a crusade on it’s streets, though it is in the concrete fields of this vibrant municipal where our guest this week has fortified himself.  From a young age procuring the hardware that has sustained an experimental mentality, it’s now been 17 years of commitment that’s facilitated the plastering of his work across flagship imprints such as M_Rec and an establishment defined as his own, Subsequent Records LTD.

As a consequence, some care should be administered to any inferred invitations these parades endure, and although only a relatively diminutive period of time has elapsed since the releases of ‘Atlantis’ and ‘Anunnuki Invasion’, it’s the derivatives of this work that implicate the cosmos in a mythological crises which doesn’t appear to be concluding in this life.  Perhaps In a world where ancient surrealism pervades. 

We’re with Luis Ruiz.

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Kn:  Can you tell us about your life growing up, how your path proceeded the way it has and what impacted your own evolution?

LR:  If we speak about evolution, we have to give a brief overview of achievements and important things.  I think that foremost in my life has been to differentiate the present trends, socially established in the current Techno, studying the times in which we live.  The growth in my career has been slow during these 17 years as a producer, always in the underground, with a low profile.  From an early age I liked to program synthesis, patterns and play with knobs, sliders, faders.  The key has been studying my equipment, synthesis and Midi systems.

My music has an unconventional face in these times where “everything” sounds modern, and has lost the roots of Techno.  But my greatest conviction is to keep intact that old school sound that I love.  True to my roots coming from Detroit and Berlin’s ‘90s true real techno.  The conviction that grew in my life was to believe, defend and keep alive the techno spirit.  It is what I call real evolution, have a mental awakening, a connection to a higher plane of existence that I get only with techno.

Kn:  The scene in Buenos Aires at the moment – is it moving in the right direction? Is there a general trend at the moment you’d like to see more of, or perhaps one you’d like to see less of?

LR:  Not good at all. Currently the scene is too divided, badly. There’s a few techno events (modern minimal-techno so-called “techno”, and things related to today’s false techno, something that bores me about that trend).  But occasionally, I have the chance to play at an underground event in some dark basement.  I love those places with few lights.

I remember the best times in Buenos Aires were in the 90′s, at a mythical club called “K2″ with a “rave” spirit, there was a place for fast beats in techno.  Today we lost that.  Unfortunately the people follow the fashion and trends.  I hope that changes soon, even in the underground.

Kn:  Your recent LP ‘Atlantis’ featured a few great tracks that is quite different to what you’ve been producing of late.  Was the approach to the album slightly different?  Was it an opportunity to experiment on different tangents?

LR:  Atlantis is my purist side as the old school that I talk about.  100% Detroit oriented melodic, emotional and deep as I could express my most sensitive form.  Many of the titles were taken from my studies of ancient cultures, themes of anthropology, history, philosophy, literature, quantum physics, cosmology and astronomy… often issues influential in my daily life.  I have been strongly influenced by our creators, those who from heaven to earth came…

The album was thinking from the beginning as something different than I had been published, with a concept that motivated me to write and produce music together.  Not only expose my musical ideas that range from melodic to ambient, but also the ability to develop and expand my ideas about the history of humanity and civilization, his evolution, organization and the level of technology reached… in the titles, the album name can be seen.

Kn:  Speaking of tangents – are there any left of centre projects you’ve been considering that are quite different to what you’ve already achieved?  Where you would be able to express yourself in a more expansive dimension?

LR:  I am experimenting with Ambient, and sci-fi style.  Also some aspect, and desire to do some electro with a tr-808.  I have don’t have an AKA but I produce under my own name different genres, for example my album, a free download on Teskoba “The Tragedy EP” is an ambient work.  It is precisely in these experimental styles where I have more room to manifest intellectually, and give a MESSAGE with my music (something more important than programming techniques or mixing methods, mastering, equipment, etc).

Kn:  You’re leaving Buenos Aires in a few weeks – what’s the plan and schedule looking like?  What can we expect in 2012 after the immensely successful year that preceded it?

LR:  Yes, Europe is the place where I want go.  Playing in some events (I hope in some dark basement).  2012 just started for me and I’m feeling the change of age to the next one.  I had a great start in Warm Up Recordings with a remix of Oscar Mulero.  My big satisfaction will be my first vinyl release on my label Subsequent Records LTD.  Waiting for the release date and analyzing the impact of it.  I have in mind to do other releases, with people from the old school, personalities of the past 20 years.

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Links:  Soundcloud  /  Luis Ruiz  /  Beatport

 
This weeks interview guest has been redefining and envisaging his own take on this scene for some 15 years and it has taken an unorthodox methodology in both the visual and sonic worlds to make a difference. It is these risks and digressions that excogitate work as opposed to linear approaches. It’s been this source of afflatus, and a lifetime of musical exposure, from minimal psychedelic house to classical piano and percussions, which has seen him assume the role as founder of Mean Records and Serialism.

Most artists would probably be content with their achievements if they were to claim the aforementioned paragraph as their own, though it’s only a prelude to varying expansive projects – entertaining a correlation between cultural distinctions in said affair will most certainly resonate in our own pursuits. His touring life seems far from finite so grabbing him from his schedule has been a success in itself.

The year ahead for Cesare Marchese (aka Cesare vs Disorder) will surely surpass expectations.

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Kn:  You established the ‘Mean’ label in 2006 as an outlet for intelligent, boundary pushing house and techno.  Its sister label, ‘Serialism’ was brought to life a year later.  What initially fuelled you to start each label respectively?  And looking back now, would you say both labels are comfortably traveling along their paths as initially intended?

Cvd:  The idea behind Mean records started in 2005; I was playing at local East London club alongside my partner Alejandro Ross (aka Rudolf).  Our sound was pretty different from the main hype at the time especially in the UK capital where Electro House, Progressive and Breakbeat were much more common.  We were experimenting, going more for mind psychedelic journeys inspired by labels like Perlon, Contexterrior, Vakant, Spectral, Dumb Unit, Cadenza, Musik Krause, that at that time weren’t so popular yet..

After years of studying and working on music, I decided it was the right moment to release some of my work (followed by Rudolf’s and then by other talented close friends like Ollie Silva aka Canary Fontaine), but I wasn’t yet confident enough to send my music to the labels I was in love with, and Mean was born.  I didn’t have a precise direction in mind, it was just all very natural, going alongside with my productions that were developing slowly with no pressure behind.

Serialism followed a couple of years later (when I met Stefano Pellegrini who is now actually living in Sydney) with a totally different goal… to seduce the dancefloor with slightly more classic sounds of Techno, House and Deep House, with a more dj-friendly structure, but leaving the door opened to experimentation and uniqueness…

I would say that now the labels are travelling on a next level since then, thanks to my accumulated experience and the help of friends and colleagues along the path.

Kn:  Serialism combines the use of visual arts with each release in the form of a video clip.  Tell us about the ideology and importance of having a visual reference to the product?  As you project yourself into the future, what further aspirations do you hold?

Cvd:  I’m a visual artist myself.  I’ve also studied Fine Arts, Design and Moving image (working also with video games and 3d design at a certain point in my life), apart from music, of course.  I was always intrigued by the strong connection between sound and image.  And it is no coincidence that my sister Federica and my girlfriend Fernanda are also very talented artists.  The fact that they become very good friends and started to work together on the image of my labels was instead a kind of luck for me, not having the time to follow full time the branding of the projects.

After months of preparation and brainstorming we started to create together videos for each release, False Manners was born and together with Mean and Serialism (and other artists friends) we created a series of pieces that helped to build up the whole image of the projects.

At the moment I’m travelling a lot worldwide and the new idea is to incorporate footage and experiences of my journeys into the main plan of the labels, keeping the concept of Art behind the projects that sure makes it more interesting and unique, and not only for a “Electronic music following” but also for a wider public that wouldn’t necessary buy the music itself.

Kn:  …as mentioned you place an emphasise on drawing a direct correlation between the art work and the music.  What’s your thoughts on further expeditions into other media that reflect your work cohesively?

Cvd:  We’ll try to optimise the whole package.  Our next step, for instance, after my Asia/Australian tour is to produce a kind of Music video/documentaries where we’ll unite the magic and uniqueness of oriental cultures with the futuristic sound scheduled for the next releases, making the connection between 2 totally different worlds coming together in a special way to coexist in a new dimension that is the multimedia, not thought in a classic way but in a more “exotic” way.  Let’s say like the way Brazilians treat and make Sushi.

Kn:  Combining a high creative production output with the ever demanding schedule of running two of your own labels, and constant touring, must pose its challenges and constantly test your limits.  How do you manage to meet the demands across so many platforms and if there’s any room for improvement you’ve picked on along the way, what’s the best example?

Cvd:  It is actually quite demanding to combine a high creative production with the incessant travelling during the weekends, long tours, the nightlife in clubs around the world and the office work that is behind running a label, and I’m actually dealing with two labels, that have a totally different sound, therefore need a different kind of attention, but yes, it is a challenge for me and the team.  It keeps my mind fresh all the time and I always find room for improvement; when we brainstorm with the girls for the videos, when I work in studio with collegues that have big experience, when, together with my present partner Federico (aka Onirik) we try to follow special marketing ways to come out as catchy (but no cheesy) as possible, experimenting with new ways to brand our projects. There’s always room for learnin’.

Kn:  What projects are you currently working on and what do you have coming up for your current aliases, Cesare Vs Disorder, Cesare Marchese and Queen Atom?  Any release dates planned for your long awaited Cesare Vs Disorder full length album and how are you laying foundations for it?

Cvd:  At the moment I will be touring until end of march.  Now Asia (coming back from Japan, now I’m writing from Vietnam) next step is Australia, Noumea, New Zealand, then a quick come back to Berlin for my bday special party @ weekend club after some holidays in Thailand.  Then out again for USA tour during the WMC month.

In the last few months I was working hard on few musical projects knowing I was gonna tour hard in start of 2012.  I’ve produced a few EP’s here and there as solo (my 4th ep on Stock5 that will be out in March/April), one with Jeremy P.Caulfield (out these days on Dumb Unit as Dynasty ep part2), one for Vakant and some very strong collaboration material with Inxec, with Konrad Black, with Sierra Sam (our new alias “Strangers in Heaven” that you’ll see a lot around in 2012), a couple of EP’s with Mikael Stavostrand, a EP with Walker Barnard. some tunes in compilations and a couple of remixes.  And a project I started a long time ago with Cesar Merveille that will be released by Jin Choi’s Private Gold next month with remixes by Bruno Pronsato and Jin himself.

I’ve also finally finished my debut album.  I’ve been working on it for the past 2 years and if everything goes by plans it will be out by autumn this year.  I already have a lot of proposition and ideas for it, but won’t go in details until I have a final schedule, and don’t expect the usual Cesare vs Disorder sound.

Kn:  You last toured Australia in 2009.  What has changed since then in your sound and approach to DJ’ing?  What can we expect from you this time round?

Cvd:  Some would say that my sound is more complete now, maybe more friendly as my public grows daily you can imagine that 3 years are a long time.  I’ve learned a lot by playing all over the world during this time, mixing genres up in a smoother way and creating journeys that are less uni-directional and more sophisticated from different sides. I will follow the flow naturally, choosing from my box what I think will make the people and myself have a blast.

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Links:  Cesare vs Disorder Facebook  / Discogs  /  Serialism Records  /  On Facebook

Booking:  Harry Klein Booking

Tour Dates:

Sat 25th Feb :: Mean Show/ Cesare Vs Disorder Bday Bash, Weekend Club, Berlin, Germany
Fri 2nd Mar :: Electric Pickle, Miami, US
Sat 3rd Mar :: Kontrol, San Fransisco, US
Fri 9th Mar :: 813, Dallas, US
Fri 30th Mar :: Mean Show, Basing House, London, UK
Wed 25th Apr :: Meet: Surealism, Watergate, Berlin, Germany

 
From the earliest of days launching renegade assaults on the illicit airwaves of the UK’s underground radio network, James Clements aka: ASC, has since dispersed his diversified interests that reconvene effortlessly.  We can take what’s ever becoming a deeper passage back in time to ’97 and having been engaged in everything from drum & bass, techno and Motown, it comes as no surprise that these varied approaches coexist and even cooperate in fusing these elements – his own label Auxiliary is a testament to this, a child of his previous imprint success Covert Operations.

Where’s this all going?  The heavy textured movements could certainly assume the role of an ambassador compiling policies dictating humanities advancement, alongside a continued perseverance in field work with film scores and the engineering behind a portrait of synchronised media.

James’ creative world refracts a relentless energy and this weeks broadcast reflects that.  Full support at our end.

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Kn:  You’ve come a long way since the days of pirate radio in your school years.  The entire concept played an integral part in how to approach music, can you tell us about how that scene affected you and what you learnt from it?

ASC:  In all honesty, I don’t think it affected my approach at all.  The only thing I learnt from it were the names of tunes that I had otherwise no access to at the time! It was a lot of fun though, especially being a 15 year old kid still at school doing a pirate radio show.

Kn:  You’ve produced a variety of works over the years across various genres, no doubt a derivative of said earlier experiences.  A few prominent techno releases and projects have come about of late – how do you work on your approach to varying sounds, is it just all the one world refracted through a prism?

ASC:  I couldn’t have said it better myself.  It really is just one world, one vision, just refracted through a prism.  Each light that is dispersed is just another part of my sound.  Obviously when I’m working at 120 and the structure is 4/4, the thought into how the music flows is different than it is when I work at 170 and the beats are broken up more significantly, but I still see it as shades of many different colours of my sound.

Kn:  As far as studio time is concerned, is there anything fresh at the moment that you feel is defining or inspiring different avenues of thought whilst you’re working on production?

ASC:  Nothing immediately springs to mind.  I find going over previous techniques and DSP chains that I’ve created and then approaching them differently, or perhaps just taking a step back and thinking outside the box instead of my usual methods can bring great results.  It’s not always about getting new gear, new plugins etc.  It can be as simple as re-inventing the wheel, so to speak.

Kn:  You’re currently releasing the majority of your work on your own label.  How does the label fit into the broader image of what you’re about – how did it come about and where is it going?

ASC:  I’ve always loved doing my own thing, so when Auxiliary originally came to life, I had this whole vision of what it would be all about and where it would fit in with what I was currently doing.  I think if anything, it’s gone beyond that, into more deeper realms than before.  The label originally came about when I was still with Nonplus.  We’d decided that it would be good to do another label, which I was going to start with Consequence originally.  In the end he decided the time wasn’t right for him, so I decided to go ahead on my own and came up with the name Auxiliary.

As for where it’s going, it’s hard to say.  I see it as something natural and organic.  It’s almost got it’s own lifeform and dictates it’s own path.  I very rarely sign a piece of music just on the spot, usually it has to ‘speak’ to me, and some tracks just say Auxiliary when I hear them.  With my own work, it’s slightly different, as I don’t really write with the label in mind.  It’s usually a conscious decision after I’ve let the track seep into my brain over time!

Kn:  What’s on the horizon from here?  You’re already working on film scores outside of a ‘normalised’ routine, is it one of the things you’ll be spending more time on or?

ASC:  Very much so.  This is a where I feel my future lies and I’m looking more and more into getting that one break that I can then use to take my work to the next level.

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Links:  Facebook  /  Buy Auxiliary  /  Beatport

We’re taking an unpredictable though calculated tangent this week that runs parallel to the cogent house scene our guest this week has helped establish.  From his younger years studying film in France, Anthony Collins commenced an acclivity at a critical intersection in his life, where as the majority of the populace would arguably have adopted a more cautious approach.  It’s these defining moments that characterise our creative composition and it comes as no surprise that after several successful projects, Rabouine House and Doubts & Shouts to name some the finer examples, he’s now found himself cooperatively working to further a new institution in electronica – Scissor & Thread.

Now whilst routine coordinates a passive standard that can be detrimental to progress, it’s clear he’s constructed a focus that’s acting as a catalyst in dissolving said state as far as the broader community is concerned and we’re still many years from a conclusive summary in his advance.  As a substitute, we’ll leave you with this weeks broadcast to conspire against any diplomatic interference regarding your own judgements. 

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Kn:  Growing up between New York & Paris certainly would have exposed you to two very diverse and influential musical cultures.  Were there any particular pivotal or influencing moments when you decided you wanted to become part of the electronic music world?

AC:  It happened randomly actually.  I was about 18 and had just moved out my parents house and had my own first flat in Nice, a city where I knew no one, as was over there to do film school.  I had some money set aside and purchased a pair of decks for my flat.  I started spending hours DJ’ing and dropped out of school haha… and then I discovered after-hours and the more underground house that went with it and I was hooked!!

Kn:  Your father had a Jazz Studio in LA while you were growing up.  Has that influenced the way in which you approach music production?

AC:  I was a baby when he had that studio, I have some cool pics of little me on this giant mixing desk.  But by the time I got into music myself my father had been out of the music industry for years…

Kn:  You’ve managed to release a staggering number of quality records in the past 5 years, and show no sign of resting on past achievements.  Was that your plan from the beginning or did things just evolve organically over that period of time?

AC:  There was no plan at all.  I am just spending loads of time making music, so have produced lots of new material.  Lucky for me cool labels liked the music and wanted to release it… simple as that!

Kn:  The Freak n Chic era must of been quite an influential period in your life as an artist whilst being surrounded with a crew of like minded friends in Dan Ghenacia, Shonky & Dyed Soundorom and releasing career changing material such as ‘Rabouine House’ and ‘Doubts & Shouts’.  However, things for you have developed and you have created your own imprint with Adultnapper under the title, Scissor & Thread.  What did that particular period teach you as an artist that you’ve employed into the philosophy and spirit of your new label?

AC:  The main point that I learned is creating a family relationship with all the members of the label, so that means being very selective.  That was the strength of Freak n’Chic and it will be our strength as well with Scissor & Thread.  The first two releases were by a New York based artist called Black Light Smoke, who will also be releasing an album in 2012 for us.  The 3rd and 4th releases are tracks from the upcoming album of Francis Harris on the label, with amazing remixes by Matthew Herbert, NSI and Black Light Smoke.  In 2012 we will be developing new talented artists that we have discovered, very excited to get all this music out, you can’t imagine!

Kn:  In an ever-expanding market, musical longevity and producing a timeless product is something that’s difficult to achieve, yet these characteristics can be attributed to your work.  Do you ever look back and draw inspiration from your own accomplishments?  And does this influence you in terms of how you decide to move forward?

AC:  I just think the way to go is really to try to create your own style.  Follow the trends and take some inspiration from it, then blend it with your own personal background so you’re always evolving and it does not get boring.

Kn:  We’ve seen new studio collaborations with the like of Ricardo Villalobos, Los Updates and Kate Simko.  Each project naturally has its own unique approach, and you obviously enjoy the collaboration process.  What new projects/releases do you have coming up?

AC:  Yeah I love collabs, as the people I choose to work with are people that I’m big fans of production wise.  As for future projects, I’ve got some projects in the works with Daze Maxim, Dj Melon, Francis Harris aka Adultnapper…

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Links:  Facebook  /  Discogs  /  Beatport  /  Juno  /  Scissor & Thread + Facebook

Drugged redshifts, alien frequencies and the implementation of technology capable of conquering the ocular cosmos would be an appropriate precursor for a dissociative narrative and our host this week presents the scenario in a confronting medium.  The modern classic world of Angelo Badalamenti, Klaus Schulze and Ennio Morricone set a precedent; a world’s indispensable depth comprised of a persistent battle between love and hate.  The collateral fragments of this conflict have assisted the release of varied works across imprints such as Prologue, M_REC Ltd. and Electric Deluxe, the latter of which he now calls home.

To be honest we’re still somewhat perplexed as to how he’s acquired the time to complete the projects that have arisen from his headspace of late, most of which endorsed the dense evolving landscapes that have inspired our vista on submergence.  The parameters within which his work resides are still only a tenant of his expansive disposition – we’re only visitors.

Our broadcast host is Giorgio Gigli.

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Kn:  Ideas and venturing into rolling cognitive terrain play a big part in your productions and performances.  What fascinated you when you were younger that inspired this deeper thinking?

GG:  I was largely inspired by emotional and intimate states.  I can say that my main source of inspiration is Love.  Love as an undefined and metaphysical entity, a mysterious but delightful experience who every human experienced during life.  So I was early inspired by ambient music, modern classical and dramatic soundtracks (like Angelo Badalamenti Klaus Schulze, John Carpenter, Brian Eno, Ennio Morricone, Goblin and Tangerine Dream), all the music I can feel particularly emotional.  After them, I did my first approach to Techno listening artists like Plastikman and Speedy J and labels like Plus8 and Probe, I had early understood and analyzed the strong link between Ambient and Techno.

Kn:  Your sounds vary from ominous deep landscapes to intimidating assaults.  How do you think of these two very different sides to you regarding the way you express yourself?

GG:  Yes.  I have these two different sides in my productions.  They are meant, at first, as the desolating solitude of human condition and, in the second phase, the assault of love against anger.  It may be intimidating, of course, since it’s a desperate but powerful scream of Love in a world of hatred.

Kn:  The idea of ‘tomorrow’ isn’t an easy one to approach for some when it comes to incorporating it in music.  How do you implement that doctrine in your own work? (Feel free to go off on your own tangent on what is a vast subject)

GG:  This question brings me memories of my track “Il futuro è solo il ricordo di uno stupendo passato” (“The Future is just the memory of a beautiful past”). It’s hard to translate music in ‘tomorrow’ since it depends on what idea of tomorrow we have.  It’s a subjective and personal interpretation.  For many of us, the idea of tomorrow is something new and never experienced during the past.  For others, the future is a partial alteration of the past that joins actual dynamics and thoughts.  For me it’s a bit more articulated since I think that future is just a projection of our aspirations and desires inside a better context.  When I think to the future, I think to hope.

Kn:  We expect 2012 to be even bigger than the year we just closed doors on.  We’ve seen you successfully release quality records this year not just by yourself, but also the collaborative products have been cause for attention too.  Have you thought much about what you need to achieve with respect to your personal aspirations?  Anything else you feel the world would enjoy reflecting on?

GG:  2011 has been an important year for me and for techno music in general.  A lot of good stuff was released. It’s a great time for techno and I’m fully concentrated to make 2012 bigger than 2011.  There’re so many great techno clubs in Europe and around the globe so I’m happy and glad of them.  It’s not easy for a producer to understand what you need to achieve personal aspirations.  I think it’s a matter of passion and love in the full respect of other artists.  It’s not a comparison matter, I think there’s enough place for everyone, everywhere.  Everyone is great for what he does, if he does them with love, sacrifice, passion and hard work.

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Giorgio Gigli’s podcast has been realized using vinyl with 2 Technics SL-1200 MKII, 1 Technics SL-DZ 1200 and Ortofon Concorde Pro cartridges, 2 disc stabilizers and an Allen & Heath Xone series mixer.

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Links:  Giorgio Gigli  /  Electric Deluxe  /  Zooloft Records / Beatport

A condensed pulchritudinous outlook on anyones inhibitions arguably sets a scene for an anarchical foray into futurity, and it’s this idea that presents every artist with the ominous prospect of making a difference. It’s the lifeline that we attach ourselves to, one that we find within ourselves that ultimately results in self-procurance – this weeks guest, David Brown, effortlessly acknowledges it. If you had the opportunity to attend Fabric on the fifth of November this year, you would have witnessed James Taylor’s final performance alongside Brown, though it stands to reason that both will fulfill their reverie.

It’s been years of commitment and achievement that commenced with the EP “Bueno” [Swayzak Recordings, 1997] which brings us to this time and place. Since then, the releases of ‘Loops From The Bergerie’, ‘Some Other Country’ and ‘Snowboarding In Argentina’ have been featured prominently throughout the past decade and rightly so. The live exploits that ensued only reinforced the denudation.

This weeks special broadcast will put things right, in your own place. You’re with Swayzak.

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Kn:  You guys mentioned in the past that your friends had to give you a subtle push to release your first work back in ’97.  What were you playing around with in those years and what was going through your heads that made you slightly apprehensive about taking the next step?

S:  Mainly playing around with samplers, beer and drug types – the results were our first album + a series of 12″s but lack of confidence I guess, we weren’t the networking types and we didn’t really fit in anywhere with our sound, we weren’t hipster dj’s and didn’t frequent clubs.  We ended up being lumped in with the british tech house scene something that we were never part of, only we were british and made interesting music!  We never tried to push our music on anyone, it was a series of lucky breaks that got our music out.  Mind you, we financed ourselves and very nervously waited for the results.  We had no clue and you can see this in our first EP artwork – it’s a mess!  We mailed a copy to Laurent Garnier, he phoned up and left a message along the lines ” beautiful and moody” things started to get exciting…

Kn:  Fusing different musical interests that the both of you had would of created an interesting dynamic while you both found common ground.  Was there any particular trait that allowed everything to fall into place and is it something that’s constantly evolving?

S:  At the start our styles were different, James was into deep house and hip hop, I was into ambient and Joy Division, but we worked well together – he brought the funk I brought the darkness.  We both went to the same gigs and drank in the same pubs, we were best mates really linked by our music work.  He would be cutting up beats, I would drop the basslines but after a while the roles reversed.  I used to sample Cocteau Twins, he would sample Bob James so it was an odd mix!

Kn:  …and on that note you’ve incorporated the use of vocals more than once or twice, something others perhaps shy away from.  You both seem to know how to do it right, so where do you think this originated from and what thought processes are involved as opposed to that natural instrument being absent?

S:  Listening to pop music since we were kids, Top Of The Pops etc.  We got a bit bored doing instrumental stuff and chance meetings with a couple of singers got us thinking.  Kirsty Hawkshaw was great, Cassy too, Klaus Kotai, a Berlin legend but I don’t know where he is now!  Richard Davis is “the” voice!  We just told them all – do what you like, we don’t produce that way…

Kn:  On the topic of evolution, how do you feel things have panned out as far as your personal growth is concerned?  If you could reflect on one or two things for us that played a part in who you are now, what would it/they be?  (It’s a pretty broad and deep concept so feel free to go off on your own tangent, that’d be great!)

S:  My belly has grown, my face has fattened, I think I am a better producer and have a good ear for a tune and a ear full of tinnitus too, a better knowledge of music.  I learned a lot not from magazines or youtube but from experience on the road and in the studio and that is important, it’s vital to gain experience.  I didn’t know how to mix records, some would say I still don’t, but fuck em it’s about the music you play and the feeling you create!  That’s not something you learn out of a magazine.  I don’t really listen to digital releases which I could get for free but prefer to support the artist / label by buying their records.  I shop and this is an important point – we need records, we need shops.  I don’t mind others playing digital, that’s just progress but I love vinyl so if it’s not on vinyl I don’t play!  Production wise, I have been taking my time to come back with some strong music, and that’s what it’s about…

Kn:  Not many artists have released several quality long players over the years so it must always be a challenge conjuring up the next project.  What’s in the pipeline, or perhaps more importantly, what would you like to venture into that isn’t a realisation as of yet?

S:  2 new albums next year I think but its been 5 years since our last so in fact this is a new dawn for Swayzak.  My partner quit the music industry so I am solo now but not afraid.  I have been taking time over this, it’s about interesting people with good music, not fodder that is big for 5 minutes.  Some killer new tracks with my friend Richard Davis coming too…

 
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Links: Facebook / Beatport / Construct Industries