Hype Williams DJ MikeQ Pariah Ins tra:Mental

138 MAR / APR 2011

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March / April 2011

KiNK 10 Maya Jane Coles 12 Hype Williams 14 Pariah 16 Planet E 18 Rainbow Arabia 20 Labels We Love: Cascine 22 Elements 24 Kode9 and 26 Tim Hecker 38 Strictly Ballroom 44 Instra:Mental 52 Leif Podhajsky 58 Reviews 65 Bubblin' 68 Guest Reviews 69 Isolee: In the Studio 70 Seefeel's Artist Tips 72 Components & Videogames 74 Outbox: 80 ED's Rant Picture This

Editor Ken Taylor ([email protected])

Creative director Tim Saputo ([email protected])

Managing editor Shawn Reynaldo ([email protected])

ASSISTANT EDITOR Patric Fallon ([email protected])

Videogames editor Ryan Rayhill ([email protected])

city guide editor Vivian Host

CITY GUIDE ASSISTANT editor James Jano ([email protected]) TIM HECKER, weathering a montreal winter, shot by Vinna laudico. Editorial interns Glenn Jackson, Stefan Nickum Like pretty much every magazine out there, we too generally theme our issues. Whether it's something big and blatant (the Year-End Music Tech issue), or more just Staff Writers for internal idea-generating use (the How Many Digs Can We Take at Brostep issue), Eric K. Arnold, Joe Colly, Matt Earp, Rob Geary, Ali Gitlow, there's some running theme behind every edition of this here rag. Of course, rarely Derek Grey, David Hemingway, Max Herman, Ethan Holben, do these themes look like anything we expected them to when they were just a tiny Justin Hopper, Josiah Hughes, Brandon Ivers, Luciana Lopez, idea in the XLR8R hive mind. Cameron Macdonald, Lulu McAllister, Tomas Palermo, Dave Segal, We call this one The Portraits Issue. But it's not because every single story found Jesse Serwer, Evan Shamoon, Patrick Sisson, Janet Tzou, herein is a collection of highly stylized headshots. Sure, some of them boast that Tony Ware, Walter Wasacz, Rico "Superbizzee" Washington visual element—take for instance Vinna Laudico's stunning shots of Tim Hecker in the barren Montreal wilderness—but many take the idea of the portrait to another Contributing Writers level, one that examines the personality behind our favorite music, rather than the Marke B, Brandon Bussolini, Michael Byrne, Ryan Edwards, visual images that represent it. Rip Empson, Michael Harkin, Andrew Porter, When we got the opportunity to interview Kode9 and The Spaceape for our Thomas Rees, Andrew Ryce, Roger Thomasson cover, we were initially at a crossroads: How do we properly represent the story of dubstep's founding father in a portraits issue when the guy will hardly show his face Staff Photographers in the media? Truth is, aside from coaxing out of him the most in-the-buff poses that Martei Korley, Morgan Howland, Paul O'Valle, Dustin Ross, any magazine's ever got of the man known as Steve Goodman, Ph.D, we figured Ragnar Schmuck, Mathew Scott, Christopher Woodcock an even better tack to take was to let him and his longtime partner-in-crime, The Spaceape, tell their story in their own words. So, on Kode9's recent press stop in SF, Contributing Photographers managic editor Shawn Reynaldo and I sat down with Goodman at a Tenderloin Thai Shawn Brackbill, Shaun Bloodworth, Vinna Laudico, restaurant, while Taio Cruz and BEP blared in the background, and got lowdown on Sean Nathan Lloyd, Brea McAnally, Josh McNey, Ben Rayner, everything about his and Spaceape's new album, Black Sun. John Simm III, Todd Sines, Space Cat, Magda Wosinska San Francisco writer Marke B managed to wrangle a portrait of an entire scene as he dug deep into the history of ballroom house, and examined how folks like New STAFF and Contributing ILLUSTRATORS Jersey's DJ MikeQ, Atlanta's Angel X, and DC's Vjuan Allure are helping to spread Chuck Anderson for No Pattern, Derek Morris for Trophy, the gospel of the long-underground phenomenon. If that's too much of a stretch, photographer Josh McNey's got the "real" thing to accompany the story on page 44. Colin Strandberg for The Work Steady, Optigram Sometimes the portrait gets even more abstract, like in the case of - hype machine Hype Williams (nope, not the hip-hop video guy), who'll hardly On the cover answer an interview question directly, let alone let on who they really are, leaving Kode9 and The Spaceape, shot in London writer Rip Empson to consult numerous sources (evasive band email exchanges by Manuel Sepulveda for Optigram being just one of many) to cobble together a shall we say "impressionistic" portrait of the artist(s). special THANKs Of course, we're not going to let that kind of thing stop us from delivering to Gamall Awad at Backspin, Barron Machat, Adam Sellers, you in-depth personality profiles on the likes of Instra:Mental, Maya Jane Coles, Annike Benjes and Lena Larsson at VisitSweden, Malin Kulseth KiNK, and Pariah. But needless to say, we're hard at work on a more official Artists and Mina Evenrud at By:larm, Brian Foote at Who Won't Show Their Faces issue, starring , Mad Mike Banks, , and Buckethead.

—Ken Taylor, Editor

4 Contributors March / April 2011

Publisher Andrew Smith ([email protected]) Marke B. Vinna Laudico Advertising ManageR Ethan Holben ([email protected]; 212-226-4553)

Events and Online Marketing Manager Shawn Reynaldo ([email protected])

accounting manager AND SUBSCRIPTIONS Sally Mundy ([email protected])

Circulation manager Sally Mundy ([email protected])

operations consultant Michael Prommer

Marke B. has been gay so long that Photographer Vinna Laudico CO-Publisher his wrinkles have little cocktails, and obtained her MFA from the Academy Arias Hung those little cocktails have umbrellas of Art University San Francisco, with Sylvester's face screen-printed but she currently lives and works Advertising: Dial 415.861.7583, fax 415.861.7584, on them. Originally from , in Montreal, Canada. She's been email [email protected], or mail XLR8R Magazine, 3180 18thSt. #207, where he worked for Transmat shooting professionally since San Francisco, CA 94110 Records and helped throw the city's 2009, focusing on portraiture, first in the early 1990s, he editorial, and fashion photography. Subscriptions: Domestic: $20 (one year, six issues) and $40 (two years, twelve issues); Canada: $40 (one year) and $80 (two years); all other now resides in San Francisco with Her work has been described as international: $50 (one year) and $100 (two years). Subscribe by credit card his husband David and absolutely emotive, romantic, dreamy, and online or send payment to XLR8R Subscriptions, 3180 18th St. #207, San zero tiny dogs. He's the senior editor a bit cinematic. She explores the Francisco, CA 94110. Payment made out to "XLR8R Magazine," US funds of the SF Bay Guardian and writes simplicity and purity of people's only. International orders must be paid by credit card or international money a weekly nightlife column called character and representing them as order. Questions? Email [email protected] or subscribe online at XLR8R.com. Super Ego. Marke wrote this issue's they are. For this issue, she shot Tim Strictly Ballroom story. Hecker in Montreal. Circulation: Newsstand distribution through Curtis Circulation. For direct retail sales, contact Sally Mundy at 415.861.7583 x223 vinnalaudico.com or [email protected].

Contact us: San Francisco HQ: 3180 18th St. #207, Optigram Rob Geary San Francisco, CA 94110; New York Office: 114 Bowery, Suite #206, 10013, New York, NY 10001; [email protected], fax 415.861.7584

Under the name Optigram, Like all good native Northeasterners, Manuel Sepulveda Zambrano has writer Rob Geary has made his peace created album covers for Ikonika, with LA traffic in order to enjoy the Terror Danjah, Harmonic 313, lack of snow, excellent tacos, and , and DJ Nate. His Amoeba Music. His obsessions with XLR8R is printed on 100% recycled fiber EcoMatte Plus and work for extends not Top Chef, bad sci-fi novels, and Blake Reincarnation Matte papers, which are manufactured with only to Kode9 and The Spaceape's Griffin's dunks are helping him heal electricity offset renewable energy certificates. forthcoming album, Black Sun, the pain of following the Boston but also to photographing (and Celtics from afar. He uses a trackball XLR8R Magazine is published 6 times a year by Amalgam Media, Inc. All writing, photographs, treating) the two stars of this instead of a mouse, does not have and artwork printed within the pages of XLR8R Magazine are copyright and property of Amalgam Media, Inc. and may only be reprinted with permission from the "Control This" issue's cover. Zambrano also a Twitter account, and talked with publisher. Please mail letters, charts, complaints, submissions, general information and runs the electrofunk record Bulgarian producer KiNK for review material to XLR8R Magazine, 3180 18th St. #207, San Francisco, CA 94110, or fax us at label Citinite, which has put this issue. 415.861.7584 or e-mail us at [email protected]. XLR8R is a trademark of Amalgam Media, Inc. out records by Gosub, Her Bad Habit, Sweat.X, and AD Bourke. Naturally, he also designs most of TM the cover art, too.

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6 What's new at XLR8R.com

Exclusive music, videos, news, and extras from your favorite artists uploaded daily.

Podcast

Tim hecker MAR/APR JAN/FEB No. 138 No. 137 Montreal experimentalist Tim Hecker isn't a guy too Music and videos from Maya Jane Coles, KiNK, Music and videos from Ramadanman, , DJ well known in the world of DJ mixes. In fact, the podcast and Hype Williams Cleo, and more that he's crafted for us is pretty much the only mix of his you'll find out there right now. Hecker has been Tracks from Planet E's anniversary compilation Untold on XLR8R TV treading the far leftfield end of the pool for years, so expect nothing less than the murkiest, most thrilling XLR8R podcasts from DJ MikeQ and Tim Hecker Exclusive XLR8R podcasts from Matthewdavid abstractions when you grab his exclusive mix over at and Elijah & Skilliam XLR8R.com/podcast. And of course, read more on An extended interview with Kode9 the recording of his latest record, Ravedeath, 1972, on A GIF conversation with Dump FM page 36. An Outbox with Wagonchrist's Then get your dose of can't-miss hotness and sign 2010's best , tracks, podcasts, videos, up for our weekly podcast at XLR8R.com, where we XLR8R.com/138extras and more

feature exclusive mixes from all across the spectrum, XLR8R.com/137extras including recent sets from 2562, Nicolas Jaar, T. Williams, and tons more.

XLR8R.com/podcast

New content every day at XLR8R.com Check out music news and features, free MP3 downloads, and reviews updated every day, plus photo blogs, music videos, free PDF versions of XLR8R, and a whole lot more at XLR8R.com.

XLR8R's "Extracurricular" Contest Score a copy of A bleton L ive 8 and a full online education courte sy of D ubspot.

Going to school and taking classes isn't exactly critiques, and general big-upping—all of which DJ So & So who gets a leg up on producing your everyone's idea of a good time, but then the school wants to hook you up with for free. Epic Tunez! LP, courtesy of Dubspot, Ableton, and again, not all schooling is like the kind of music XLR8R. production courses offered by NYC's Dubspot. If you feel so inclined to enroll in Dubspot Online The innovative institution has been humming for absolutely no charge, and also wouldn't mind One grand-prize winner will receive: the full along nicely since 2007, teaching all those coming away from the bargain with a gratis copy Ableton Live Producers Certificate Program who enroll how to mix and make just about any of Ableton Live 8, you can enter to obtain those and a copy of Ableton Live 8. variation of they can imagine. prizes—amounting in over $5500 of gear and Now, Dupsot is offering a brand-new service education—by sending us two things: first, we'd Entries will be accepted via standard mail and available to the world: a multi-functional online like to know what DJ/production moniker you plan email, and must be received by May 1, 2011. Send school and community where students will be on using, and where your idea for the name comes your entry to: XLR8R's Extracurricular Contest, directly connected with their instructors, receive from; secondly, tell us what you'll call your first LP 3180 18th St. #207, San Francisco, CA 94110 weekly feedback on their productions, and be or mix album, and again, why you chose that title. or email [email protected] with "XLR8R's able to interact with their classmates for advice, So write us now, and you just might be the lucky Extracurricular Contest" in the subject line.

dubspot.com/online-school ABLETON.cOM

8 P r efix: Audiofile

With an old PC, a Bulgarian producer puts his own bent kink on experimental tech-house.

Finding music was different before the Internet: Maybe a receptive record-shop owner let you listen to everything, or you picked up anything related to a good magazine article. Now, imagine your tastes run to experimental electronic music, it's the early 1990s, and—oh, yeah—you live in Sofia, Bulgaria. "When I got interested in the electronic sound in 1992, you could hear one, two tracks in some late-night radio show," explains Strahil Velchev (a.k.a. KiNK). "I discovered experimental and downtempo through a small record shop near the center of Sofia. The owner used to import CDs and cassettes by imprints like and ... but I hadn't gotten the chance to buy many records, so when my friend told me that it's possible to make tracks on a cheap home PC, I thought that if I can't buy much new music, I can make some!" Velchev came to producing out of pure necessity, transforming a trickle of leftfield electronic records he was exposed to and a copy of early production software Jeskola Buzz into a burgeoning career as an experimental techno producer and DJ. He developed his skills like a painter copying the old masters, attempting to replicate the classic sounds of the Roland TB-303 and drum machines. "I got an old Vermona analog synth in 1998," he explains. "The only thing I could do with it was simple , so I learned about waveforms and filters with my hands on the knobs. When I got my PC in 2000, and the modular software Buzz, I learned the rest mainly with experiments and reading some theory, but without knowing how other artists do it." Velchev found demand as a remixer through his experiments, at first for local and then more international acts, including some of the Bulgarian pop variety. "I loved the fact that I could turn a Top 40-style track into something with a totally different context," he says. "I'm always happy when I can find a leading element in the original, like a good vocal or a nice melody, so I can build a track with KiNK sound aesthetics that still refers to the original." That aesthetic is a nicely recognizable stamp that takes more straightforward techno and ROB GEARY house tracks into the twistier, slightly abrasive perversions of beats and synth tones like on those early Warp records, then embraces the Words

glitchy aesthetic of mistakes. That doesn't mean Velchev has forgotten the poppier, housier records that filled Sofia's late-night airwaves. KiNK's "Existence," from last year's Rachel EP, with its canned snare rushes and relentless riff, is a straight-up, fist-pumping homage to ' original piano house epic, "Changes of Life." On his new 12", "Leko," Velchev imagines the same house joyfully refracted through a funhouse mirror, computer loops showing defiantly; "Yako," on the flip, showcases KiNK's genre facility by turning the same tune into dissonant, trunk-rattling dubstep. While Velchev is fast becoming Eastern Europe's go-to guy in a new generation of leftfield acid techno and house creators, he's also sought the assistance of collaborators Craig "Eviljack" Birmingham and Neville Watson, who've helped do the job that little shop in Sofia used to do: fill in the gaps he missed between and early Chicago and Detroit sounds. "Getting 'in' was a slow process, and it still continues," he says. "If I stand out now, it's because I'm faithful to this vision and I was patient enough to develop skills so I can reproduce any idea I have in my head."

KiNK's Rachel EP is out on now on Ovum. myspace.com/strahil

10 11 WORDS BRANDON IVERS IVERS BRANDON

P r efix:

Audiofile maya PHOTOS Jane Coles A young Londoner infuses tech-house with deep vibes and dubwise sounds. SHAWN BRACKBILL SHAWN yce yce Andrew R Andrew Words

Twenty-three-year-old London house of the sounds and their chunky drum house sound—"All the [types of] music producer Maya Jane Coles might seem to beats. Her influences—Radio Slave, John I make kind of bounce off each other," have appeared out of nowhere, but it looks Tejada, and Steve Bug—are discernible she explains—and retaining her knack like she's not going anywhere for a while. in her penchant for subtly powerful for unforgettable vocal hooks. Nocturnal Her 2010 single, "What They Say" (Real drum programming, brilliant chord Sunshine earned support from scene Tone), exploded upon release, topping DJ progressions, and smooth, accessible stalwarts like Scuba and Skream ("I've charts worldwide and attracting critical textures. Her refreshing simplicity is the always been heavily influenced by dub," and public adoration. It was simple, earned product of eight years of practice, she admits), and Coles promises that riveting, and classic: an infectious vocal and her releases so far showcase her "there will definitely be some more in sample riding a descending organ riff diverse, confident take on melodic house. 2011." As for other future plans? An album, padded with snapping drums, it's the kind Coles' mature sense of refinement of course. "My album will be the release of subtle tune that gets stuck in your head extends itself to her other endeavors— that fully represents me the best so far… for days. "It was definitely a surprise," she's not just a house producer. She's also Not following any specific genre, it's just Coles says about the traction it received. one half of live bass-music duo She Is electronic music the way I want to make "I've made music that's a lot more personal Danger, a collaboration with singer Lena it," she says proudly. "It will feature tracks and special to me, but as an artist you Cullen that Coles calls "completely free with my vocals, some instrumentals, and can't really control the success of your thinking." She says the fruitful partnership some really cool guest vocalists, which tracks, unfortunately!" The track's basic has resulted in "loads of live shows and I'm super-excited about." She's playing it construction and trilling organ marry an album in progress," but even more careful right now, so there's no release a classicist ideal to a modern UK house promising is her Nocturnal Sunshine alias, date planned for the album, but with a sound preoccupied with techno's clean which emerged last year with a much- string of recent and future releases on lines. However, Coles claims she's "not lauded release on Lick My Deck. Under Dogmatik, Real Tone, Hypercolour, and looking specifically to make retro sounds," that moniker she makes reflective, subtle now Mobilee, we've got plenty to tide but you can't help but notice the richness dubstep, influenced by her sharpened us over.

"Beat Faster" is out now on Mobilee. 12 soundcloud.com/mayajanecoles P r efix: Audiofile

Hype An almost-anonymous duo drags a hip-hop videomaker's Williams name down the rabbit hole.

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IP EMPIP R Hype Williams, the enigmatic Berlin- mo. For the clunky, bluesy raga "Get Choong Nation is also a product of diverse musical London duo consisting of Russian-born Inga and Look at the Sky," they fashion hats out roots. The record has flourishes of '70s and

Words Copeland and London's Dean Blunt, is not of tinfoil and hang around a churchyard. '80s radio pop (an obvious touchstone, if your typical band. They're not in the game Catch them live and you might find a stage their cover of Sade's "Sweetest Taboo" is to promote themselves, create a brand, populated by several performers, Copeland any indication) on tracks like "Your Girl or end up on MTV—in fact, they'd like to and Blunt among them, hidden behind Smells Chung When She Wears Dior," and stay out of the game altogether (which makeshift masks. gritty, loaded subs give it a heaviness may give some credence to the fact that a There's a playful innocence to their that echoes underground dub and dance, couple by the names of Denna Frances and performance and their music. Hype particularly jungle and hardcore. S-DJ08 & S-DJ05 Father Ronnie Krayola is often credited Williams—no relation to the hip-hop- For One Nation, D-Blunt says the group with "creating" the band as a sort of relay video maker of the same name, we was looking for a counterpart to the current Active Reference Speakers art project). Both Copeland and Blunt (who should mention—is about the feeling approach to making electronic music, which We’re celebrating the launch of the S-DJ08 and S-DJ05 by often goes by "D-Blunt") have dabbled in of the moment, about remaining open he claims generally tends toward "over- giving you the chance to win Pioneer gear and collectable writing, photography, and the fine arts, but and reactive. As Copeland told The Wire intellectualization" and over-production. The industry leader in tabletop players and mix- swag every week! It’s easy: go to any participating authorized D-Blunt quickly shrugs off questions about recently, conveying elements of humor and The duo's lo-fi sound is rough and simple, Pioneer dealer and check out the new S-DJ08 and S-DJ05 that background. "Inga has a degree in atmosphere are tantamount to creating the the drumming far from coached, as ambient ers is proud to announce the S-DJ08 and S-DJ05. active reference speakers. While you’re there, pick up a pair something theoretical—I forget what—and music itself. sounds and spoken-word samples float Both speakers feature professional studio reference I used to be a boxer, 'til I lost a fight with an D-Blunt grew up in East London at a in and out—so much that you get a sense monitor sound quality, audio parameter controls, of limited edition 3-D glasses. Arab," he says, presumably attempting to time when American hip-hop music and you're listening to the musical expression built-in linear equalization and four switchable in- mess with us. culture loomed large, inexorably informing of a 48-hour sleepless walkabout with Each pair of glasses contains a unique code. puts. The speakers’ unique manual controller allows As for their music and visual aesthetics, his early years. On their first full-vision Copeland and D-Blunt. Conveniently, when Enter your code and check out 3D videos at: those too are as obtuse as they are inviting. L P, One Nation, the tracks—many of which asked about what went into making One DJs to seamlessly switch between studio reference Check out their video for the tinny, trippy, are untitled—are permeated by retro-hip- Nation, the group collectively replies, "48 audio and DJ rehearsal playback. The controller also lo-fi track "Chatline," and you'll find hop synths, and evoke a hazy and crackly, sleepless hours and a lotta pills." Copeland washing Blunt's hair in super-slo- almost cinematic atmosphere. Yet One engages the equalizer and mute features and changes settings such as sound characteristics and audio FOLLOW US ON: Void where prohibited. facebook.com/pioneerdjusa No purchase necessary. inputs. The S-DJ08 and S-DJ05 are the final Valid March 1 – May 31, 2011 twitter.com/pioneerdj or while supplies last. One Nation is out this month on Hippos in Tanks. elements for your DJ production rig. .com/pioneerdjglobal Must be 18 years old to enter. 14 myspace.com/hypheewilliams Words Patrick S isson P r 16 efix Pariah Logic on a friend's computer as a teen, ateen, as computer afriend's on Logic with fiddling after history; production along have exactly doesn't Cayzer music." my with contextualize, re- away, in just but replicate hopefully to Itried that something That's hard. as just you hits it but emotions, of kinds different be might "It Cayzer. says emotion," incredible this have do They well. as scene hardcore whole the love "I beats. bass post-dubstep melancholic, of brand particular own his fashioning when Pariah name tothe by go Cayzer inspired that song the wrote which Cursed, act hardcore Canadian the of fan a huge being for out stand may he hand, other the On Burial." for wasn't it if production my in vocals use never probably would "I London. 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PLaNetary evoLUTioN

10 Game-changing moments in Planet E History

PHOTO TODD SINES

6. Starting Antidote a really fantastic time. The first That's just the way it goes. People Records With one that we did together, which get pissed off over less important Lacksidaisycal (a.k.a. was a jazz version of "Bug in things, like when their football Ta'raach) the Bassbin," was really a major team doesn't win [laughs]. It was a I got involved in some hip-hop thing for me. Francisco is the one truly amazing thing for me. stuff here and there, starting a who turned me on to Sun Ra and label that was called Antidote with electric Miles [Davis] stuff. He 10. Founding the Detroit Lacksidaisycal. He worked with was really a mentor for me, for Electronic Music Festival Erykah Badu and Big Tone. So my excursions into jazz. When he The first two years were great that was getting my feet wet in the brought in Rodney Whittaker to years. And definitely the first year hip-hop world and learning a little play on the "Bug in the Bassbin" was beyond incredible because it bit more that I needed to stick with thing, it just worked on that wasn't gonna happen! It got kinda As Carl Craig's pioneering second- 2. signing Recloose that had all that controversy. He made done right, and I didn't think we could do my roots instead of trying to walk particular section. I think if it was a forced to happen, which was great, wave techno label Planet E turns I used to order these sandwiches at some statements—Detroit militant it right. But I just found the tape the other outside of them so much. day earlier, a day later, it probably but there technically wasn't any 20, we chatted with the longtime Russell Street Deli down in Detroit's statements—that were more him being day, so I'll have to dump it to a file and would have fell apart, but that day, money until Friday at six o'clock Eastern Market. I ordered a carry-out and silly than anything that he ever believed. give it to him so he can do whatever he 7. Having remake it just worked. That was a fantastic [laughs], and it started Saturday Detroit-based producer, DJ, my wife at looks in the bag and Of course, it always seems like when it wants with it. But he was young then, so remixer, and label owner about "People Make the World Go time. at 12. But, the first day, with Kenny there's three sandwiches in there. One of comes down to race, that it's a one-sided maybe he's not feeling it anymore. Larkin and Stacey Pullen closing some of his, and the company's, the sandwiches had written on it "Demo story with a lot of folks, and I think people Round" finest moments. Having Dilla remake The 9. Getting nominated for a out the main stage, we were Tape on Rye." That was really quite an got that kind of concept from it. But he's 5. Working with jazz group Tribe Innerzone Orchestra's "People looking at this whole sea of people amazing and funny experience, and with not that kind of guy. Grammy for remixing Working with Marcus Belgrave, Wendell Make the World Go Round." I think out there—this is something that him, Recloose, it really fits his personality Harrison, Phil Ranelin—that was a big Junior Boys in 2008 we only had two situations with The Grammy nomination was a big we've always wanted to see—any 1. Starting Planet E because he's really quirky and funny like deal for me, especially because I had When I started the label, I released [my] 4. Seeing Moodymann's promo Dilla—that, and the Big Tone track. one, I can't forget that. That was a type of festival could happen that. So I knew when I saw that, I had to wanted to do it for such a long time. I had 69 [record] 4 Jazz Classics and it was video for the first time Dilla had let him use a beat on great time. I wasn't expecting it—I that spotlighted our music. As an listen to that tape—I couldn't not listen to talked to Marcus and asked him about it a big deal for me, because not only did I gave Moodymann a camera to shoot that, which was great. didn't know it was even submitted. artist, that's one of your greatest the tape. And the rest is history. and he'd say, "Yeah, we want to do it," I have my own independence, but I had what would be considered a promo I didn't know how things got compliments, when you can play and Marcus was really busy, but when I done it as an underground thing, where video, and what I got back was just submitted to the Grammys; it just in your hometown and it looks like met Wendell, he really helped to make it 8. Recording the Innerzone there was no information about who was 3. Releasing Moodymann's incredible—just legendary. He goes to a happened and I got nominated. you're playing some crazy huge-ass liquor store and tries to buy liquor with an happen and we did this album that I think Orchestra album with doing it. It was quite interesting to get Silent Introduction I was really happy about it and I rock festival. The talking, the narration that caused so IOU. He's got this girl, topless, braiding is really fantastic. Tribe was a big one. Francisco Mora people who didn't know who did it and We had Rodney Whittaker on went all the way out there, to LA, much controversy—all that. That was the his hair. It's really on the edge. It's so to be part of it and, of course, I hearing what people had to say about it. there, Craig Taborn... That was planet-e.net first time that I ever dealt with anything legendary that releasing it had to be got pissed off when I didn't win.

18 P r efix NO MORE EXCUSES. FIVE STAR RaINBOw araBIa

The LA-based genre mashers tell us about the major influences on their new album, Boys and Diamonds. PHOTO Magda Wosinska

DJ Beppe Loda's 1985 Mix DJ Loda was part of the Italo- disco scene, and a resident at the Typhoon club from 1980 to 1987. This mix goes through a collage of electronic sounds mixed with funky riffs and Kraftwerk synth leads. He has a way of going off into totally different tangents, which he somehow makes flow perfectly.

is the new star in the next generation of TRAKTOR DJ gear. With new TruWave colored waveforms, powerful Sample Decks and Loop Recorder – plus a newly designed interface and plug-and-play simplicity – there’s no excuse for not stepping up to TRAKTOR. New software, new soundcards, and new systems with more control options than ever: OMD's Orchestral Scientist's Scientist Congotronics 2: Buzz 's Check out the new world of TRAKTOR, powered by TRAKTOR PRO 2, at Manoeuvres in Rids the World 'N' Rumble From the "From Here to

the Dark of the Evil Curse of Urb 'N' Jungle Eternity" www.native-instruments.com/traktor OMD's keyboard sounds the Vampires This was the second release This song kicks ass. The are points of reference when Scientist has his signature of the Congotronics series. ultimate dance song, adding sounds to our songs. sound in dub with his bleeps It is filled with electrified with a tight beat and an The opening to "Almost" is and reverb crashes. He likembes and makeshift arpeggiation that fades in, probably the best opening made dub almost sound like percussion instruments, like bringing you to Moroder's synth line in a song, and we electronic music. This album spray cans and car parts. All futuristic disco sound. Plus, he love how they use hissing hi- has probably some of the best of this is played through their had such smooth, cool style. hat sounds. And "Electricity" production of drums, and is homemade soundsystem. is one of our all-time also filled with evil laughs and It has the sound of primitive Boys and Diamonds is out this month on favorite songs. lines like "I want blood." electronic trance music. Kompakt. rainbowarabia.wordpress.com

20 TRAKTOR Scratch is authorized for use underN2IT Holdingincluding U.S. B.V., Patent licenseNos. 7,238,874B2 and B2. 7,012,184 of patents owned by P r efix

LABELS wE LOVE CasciNe

Scando pop and embassy records combine for an even more international affair

It was only the start of summer 2010 when Jeff Bratton and Sandra Croft crossed paths and bonded immediately over a mutual love of Scandinavian pop and the in-house cover versions of classic hits released by Embassy Records in the '50s and '60s. Driven by that shared passion for precious, hook- driven music and their discovery of Finnish band Shine 2009, Bratton and Croft decided to form "an experimental pop label," calling it Cascine. Now, less than a year later, the imprint has released six singles/EPs by an array of burgeoning artists hard at work mining the disparate permutations of pop music. As Bratton's and Croft's endeavor continues to grow into its recognizable brand with Shine 2009's forthcoming full-length album and a brand-new EP from one of the label's strongest producers, Chad Valley, we Shine 2009 Selebrities Chad Valley take a look at three EPs that Associates EP Ladies Man Effect EP Chad Valley EP helped put Cascine on the Sounding like the marriage of Primal Selebrities may be the grittiest outfit Were Cascine ever called upon to give map. Patric Fallon Scream's drug-addled psych-pop and on Cascine's roster, the raw Ladies Man the world its answer to Delorean's Subiza, Chapterhouse's electronic shoegaze, Effect EP its most ramshackle collection Chad Valley's self-titled EP would be its cascine.us Cascine's first release is a record of calm, of songs. But it's within the frayed edges best . Through the swaying branches collected dance-pop cuts by Helsinki's of Maria Usbeck's coy vocal delivery, Jer of palm trees and over the hot sands of Shine 2009. Three equally strong Robert Paulin's simplistic guitar riffs, and Ibiza, the Oxford-based artist shoots singles—the groovy opener "Naturally," the vintage-inspired production of Max his funky disco-house productions the club-friendly "Higher," and the airy Peterson that Selebrities' heart and soul straight into the atmosphere, leaving ballad "New Rules"—all vie for your exist. Each of the four songs on the EP trails of ecstasy in their wake. Valley attention on the EP's first half, while seem to call upon different eras of Peter sports Auto-Tuned vocal hooks, smooth instrumental and acoustic Hook's and Bernard Summer's musical R&B melodies, slap-and-pop basslines, versions of those catchy tunes help careers for inspiration, so it's the delivery shimmering synth tones, and thumping round out the flipside of Associates. The of those ideas that holds the most club beats on the four original cuts seven-song record seems to effortlessly weight. Thankfully, the Brooklyn band featured on Chad Valley, and keeps his encapsulate Cascine's taste for both the makes sure to package each infectious heart displayed prominently on his sleeve past and future of popular music. song with refreshing nuance and youthful all the while, too. Grab this EP, and exuberance. you'll be spinning "Ensoniq Funk" and "Anything" on repeat for weeks.

22

pub-Djing-4Mx-XLR8R-1010.indd 1 22/10/10 10:27:02 P r efix

elemeNts Available from all no jacket required good record stores. — www.fabriclondon.com

Our resident stylist Andrew Porter waxes casual on spring's must-haves

FABRICLIVE 55 56 DJ Marky Derrick Carter

FABRICLIVE 54 fabric 55 David Rodigan Shackleton

1 2 3 4 YMC Slub Shirt Pendleton Wool Macbook Case Nike ACG Lunar Vengeance Wintercheck Lizzie Sunglasses $65 $44 $120 $60 I love striped shirts, but the rest of the Pendleton blanket wool saw a lot of I recently found a picture of myself Wintercheck sunglasses are a great world does not. People associate the use last year, and for good reason: It from about 10 years ago. I looked option for those who want a unique basic striped tee with sailors, small looks really amazing. That said, I've past the 10 extra pounds on my face pair of frames at an affordable price. FABRICLIVE 53 fabric 54 children, Pablo Picasso, and "jailbirds." seen enough of it in the outerwear and the Benetton hat on my head These grey frames look great and Drop The Lime Damian Lazarus Apparently, it's not cool to share similar department. Whenever I see somebody to discover that I was wearing one the red tips really make them pop. shirting with your five-year-old cousin. in a Pendleton blanket coat, I hell of a teal-and-purple Nike ACG Additionally, Winterchecks are made I've got the memo several times, but immediately think of Dumb & Dumber coat. I loved that stuff—the '90s in the USA and come with a neat I'm going to keep being me. Take that, when Jim Carrey and Jeff Daniels get Nike ACG line was top shelf. These waterproof carrying case. The built-in ex-girlfriends! For my fellow lovers of all Aspen'd out—not the best look. For jammers strike me as a modernized blinders are not for everybody; they stripes, I present you with the YMC Slub those like me, who love the fabric but return to that time. Very retro-future- have a bit of a mad-scientist/super- shirt—the thinking man's striped shirt. don't need to make a statement, I direct mountaineering with a splash of "I villain feel to them, but I'm okay with It says, "Hey, I dig stripes like a kinder- you to Etsy. Sellers like Ginny Vyvan are don't want to be that bearded guy in that. Heck, at $60, it's hard to turn gartener, but I also feel this Bridget making some amazing accessories at Red Wings" kind of vibe. Two thumbs these down. Riley op-art-ish vibe you see happening great prices. up! around mid-torso." wintercheckfactory.com etsy.com nike.com youmustcreate.com Read Andrew Porter's weekly Casual Fridays column at XLR8R.com. FABRICLIVE 56 fabric 57 Pearson Sound / Ramadanman Agoria 24

WORDS:

P r efix IMAGES: OPTIGRAM IMAGES: REYNALDO & SHAWN TAYLOR KEN

On their second LP, Kode9 and The Spaceape ponder the apocalypse, SUNSHINE SUPERMEN graphic novels, and a Ballardian world of black suns.

28 After a busy year of releases on his genre-defining Hyperdub label, and a critically acclaimed book entitled Sonic Warfare: Sound, Affect, and the Ecology of Fear, dubstep's godfather, Kode9 (a.k.a. Steve Goodman), is about to release his second full- length with longtime collaborator The Spaceape (a.k.a. Stephen Gordon), entitled Black Sun.

We spoke with Goodman on a recent stop I've seen you take issue with the notion that disembodied voices, on-screen/off-screen in San Francisco, and Gordon from London, music, when it's examined academically—a diegetic sound, notions of counterpoint to about their joint history, The Beatles, turning lot of people say that when you examine it do with sound and image as opposed to just a book into a sound installation, and what the that way it loses something, the energy and musical elements. duo has taken away from the LA beat scene. the fun, which you don't agree with. How do you go about keeping it energetic and Does it ever at any point turn into Dr. Kode9 XLR8R: You've said that with this album, interesting and not losing its essence or vibe talking about dubstep in these classes? you had really wanted to try to set aside time when you're doing your lectures? No, I'd probably kill myself [laughs]. I don't to go deeper on production, and instead of I suppose for me, the difference there is talk about music that I'm involved in. spending two hours at a time in the studio, that I distinguish between academic and maybe spend days at a time. Did that conceptual. Like most people, I find academic Are you working on a second part to the book actually happen? writing pretty boring. That's not what I'm right now? Kode9: It did—not as much as I wanted, trying to defend; I'm trying to defend people Yeah, it's a sequel [laughs]. It's basically never as much as I wanted. But from August that write conceptually. an attempt to flesh out, in a slightly more last year onwards, it was great actually: I accessible way, to log the ideas of the book wasn't DJing, I wasn't doing a book, I was just How much music is actually involved in your via interviews. It's all going to be made up getting up and working on music. Fucking lectures, or is it discussion? of interviews with scientists, sound artists, bliss, 'cause it doesn't happen often enough. Mostly the classes I've been teaching the , people working in the sound of The second half of last year is when it was last few years are film sound. We just watch advertising and branding, hopefully some like, this isn't going to get finished unless I a huge amount of film clips, and there's a military people—although they are really probably enter that zone. kind of vocabulary of film sound—and, less hard to get a hold of—and some cultural film music, but film sound—concepts. And if theorists. It's really just coloring in the book Did you take a break from teaching at you have a grasp of these concepts, it makes with detail and personal experience. University of East London? it easier to understand how soundtracks I had a sabbatical. I'm toying with the idea are constructed and therefore how to make of taking a more permanent break, I enjoyed them for yourself. We watch films and go working in the studio so much last year. through all these concepts, things to do with

31 You've been publicly talking about the book helping massively, particularly with the patch bay for connecting together all that with a PowerPoint-style presentation. Is press side of things... I didn't get into running fragmentation. I don't think fragmentation that informing how the new book is going to a label to run a label, and that's what it's itself is necessarily that interesting—it's the come together? become. Last year, so much stuff happened UK, everything is falling apart, and...? Okay, I have been doing a lot of presentations, but without me even noticing—I'm like, "Fucking there is actually no one thing that is amazing the thing that I suppose pushed me towards hell." Then you find yourself with this huge enough to hold it all together. That's not so it is these series of sound-art installations pile of paperwork for mechanical royalties. great, really. Fifteen years ago it was jungle I've been doing. I did one in Berlin a couple I could be selling drawing pins—it's all and that was holding everything together, of years ago, one in Sheffield last year, and bureaucracy. You might as well be selling or it was UK garage, or.... My sets, I play I'll do one in New York from May until July tires or socks. dubstep, , funky, other stuff, and maybe this year. Which, again, is an attempt to a bit of jungle and so on. Same with the label. change the book and put it in another media, It was a busy year, though, for Hyperdub It's a kind of hub holding these diverging another format, like build the book into a last year. strands together with some kind of direction. room. The initial idea was a dark room with Yeah, we had almost 20 singles and three I don't think it's so erratic, the stuff that's on lots of big sub-bass woofers and ultrasound albums. I'd be happy to just make music and the label. It seems like it has some sort of speakers—directional ultrasound. The idea write and be paid and play live. Everything consistency. was to create a really quiet room, a silent else is a distraction, like teaching. I'm not room, but a room that had deep infra-sound sure how long I can... you know, as you get Do you think genre descriptors are vibrations and little pockets of sound that older you can't keep doing everything. important anymore? you would only hear as you walked around I think so. I'm not against genre. I just the room because of the directional audio. What do you see the role of the label playing think it's important that people in genres So there'd be little bubbles of sound that these days? Could those artists have the constantly question the genre and slag it you'd have to discover by walking around in same successes on their own without having off because ultimately, it's words and at a the dark. It was that, and wanting to develop this label force behind it? certain point the usefulness of that word... more content for sound installations. The I love that artists have their own labels, like a genre name is there to help you clarify, one in New York is going to have a one-hour Ikonika, Cooly G... Terror Danjah just set communicate with people about what is fictional-audio documentary. up a label again. I think that's great, 'cause what, and what works, or to pigeonhole stuff. right from the beginning, even before I give At a certain point, the reality and the word What sort of venue is it in? someone feedback on their music, I say, "Just don't resonate together very accurately... It's in a gallery called Art in General. And set up your own label. Stop relying on other What happened with me and dubstep—at I'm like, "Oh, if I'm going to go around people to like your music." Obviously, that a certain point that word and some of what interviewing people to generate content for can work and it can not work for people. I I was doing didn't connect. That's why the installation, I may as well collect them think it's great that the artists on the label sometimes I've come across as, like, I won't together in a book." Also, reading some of are doing their own thing. The label is say the word. When I've said to people that the reviews of the first the book, it's clear music I feel passionately about and like a Hyperdub is not a dubstep label, it's not that—and I knew this would be the case— lot. Hopefully, it's a kind of example of how because I'm against dubstep—it's because people were slightly hostile to some of the erratic you can be with an A&R policy and some of the stuff we release on Hyperdub theory in it, which I kind of expected. everything will be okay. "Erratic" is not the isn't dubstep [laughs]. Like the Darkstar right word—I don't find it erratic. But people album is not dubstep; it's got nothing to do Tell us a little more about that. Are other seem to find it erratic. People seem to be with it. academics critical of it? surprised that I've got this and then this and No, not really. I don't feel I've had much then this. That kind of confuses me a little A lot of these naming conventions are response from academia, because it takes bit to the point where, last year, I actually obviously driven by journalists' need to label much longer to get an academic response. started to believe that thing that people things. Do you think those kind of cultural Just the thing that I knew was going to were saying, and I just actually lost the plot filters are important anymore? happen: people that know my music are altogether and I stopped being able to tell I think they're more important now than like, "Cool, he's done a book, I'll read it," and whether I liked something or not. Stopped ever, because we're more snowed under then, like, "Fucking hell," after a couple of being able to tell if something was right for with random bullshit, too much information, pages [laughs]. Which I knew was going to the label or not. shit music. You need filters. So I think more happen. There's a series of disclaimers in the than ever you need good filters with good introduction about that kind of thing, but I How do you know? taste and a sense of the future, and a sense didn't want to water the book down. That's Well, you don't know. That's the point. It just of the direction things are moving in. That's the last thing I wanted to do, to dumb it down feels right or it doesn't feel right. I think I've as important for other writers and readers so anyone could read it because of the kind described it before as, if you get a battery as it is for labels and producers and artists. of book it was. and you put it on your tongue and you get a Okay, so some artists don't read anything little bit of an electric shock, that's how you and just sit in their studios, but I've always You have so many different hats you know. been interested in reading music writing. wear, so to speak, with DJing, the label, Because, here's the thing: Good conceptual production, academic work. Do you find Sonically, the label definitely explores a music writing gives me musical ideas. The yourself gravitating towards certain roles lot of different sounds. Do you think that one thing you can do faster in writing than more as you get older, or is it always in flux? parallels the increasing fragmentation of you can do in music is splice together ideas. I'm trying to delegate things that I don't the UK scene? You don't have to splice together two sounds. want to continue doing [laughs]. I'm not In a way, maybe it's helped that It's quicker to splice together the ideas and "We wanted to create an accelerated sonic fiction where elements of running the label on my own anymore; I've fragmentation, but from my point of view, experiment with an idea before you even got someone who is the label manager, who's I see it more as a bridge, a connect, a experiment with a combination of sounds, what we know still exist but are now either warped or fragmented."

32 33 or make connections between things you most important legacy of dubstep has been is most interesting to me the more it deviates wouldn't normally make connections with. reminding people of that. There is something and spreads out from instrumental hip-hop. very powerful about that. You seem to have an affinity for mystery, Did you ever have any interest in straight-up whether it's not having your picture shown When you talk about dubstep's legacy... I'm techno or house? or overloading your music with subtext with really curious what you think about dubstep Kind of, but not massively. I kind of worked where it's coming from. Is that a response to in the US and how it's mutated in different this out in an interview the other day, because the too-much-information culture? ways? I've never been a huge house and techno fan, Maybe it's just like I don't want to ram myself I mean, I don't really know. It's really off my even though I've played quite a lot. And I've down people's throats. I think a bit of secrecy radar, to be honest. I hear the odd horror never been a huge hip-hop fan, even though I and a bit of... making information scarce story about friends of mine who had to play on love a lot of hip-hop. Just thinking about the again—I clearly see some value in that. certain line-ups, but to be honest, it's kind of kind of DJing I've been doing for the past 20 off my radar. Obviously, I've heard of brostep years, it's always been suspended between In that respect of seeing things go back [laughs]. house and hip-hop—house and techno on underground... the one hand, and hip-hop [on the other]. I like the idea that it's getting slightly harder Even Rusko was sort of denouncing Jungle and maybe 2-step and UK garage was for people to [find information], because it's the brostep thing that he accidentally like this perfect poised fusion between hip- so easy for people to get things. kickstarted. I know you can't necessarily take hop and that broken or breakbeat culture responsibility for where it went, but... on the one hand and house and techno on But there are still unique regional No, I mean, once you give birth to something, the other. So, grime, dubstep, UK funky, UK experiences, and I think that despite how you don't have control over it. There are garage, jungle, hardcore... they've all been on much someone might know about London's certain moments in the last 10 years, like this diagonal in between hip-hop culture on club scene or whatever, if you don't visit it you when Loefah did "Horrorshow" and opened one hand, and house and techno on the other. don't have an experiential understanding of up this whole thing about really minimal And they've always been quite antagonistic it. Where are those pockets for you in London half-step, and when Coki did "Haunted" or cultures, whether it's because hip-hop is such that you tap into, whether or not it's finding Skream did "Blipstream" and opened up the a misogynist culture that thinks house and new people for the label or just for your own world of the wobble. I can even hear it with techno is gay, or whether house and techno enjoyment? the first version of my track "Black Sun," and has got its own—it doesn't want to listen to I mean, I probably get most music from a I'm constantly hearing that same droning, people's experiences and voices—it's got its network of friends. I used to be on Rinse every pitch-bent synth everywhere, and now with own discriminations against hip-hop culture. week for about four or five years, and for a some, like, pitched-up helium vocals. And I Yeah, so I've never been so into either side, while after that I kept listening, but I hardly don't dislike it necessarily, but it has nothing but this thing in the middle seems to be what listen to Rinse anymore because I'm podcast- to do with me—it's just what happens. It's I've been following musically. overloaded. I almost prefer to not know what's funny, you know, formulas aren't necessarily going on on Rinse, and just be in my own little bad things, but it's interesting how they come Since you hold such a respected position world and not try and be pursuing the biggest out of certain tracks and spread about. And if in the music scene, do you feel any extra tracks as fast, because I did that for quite you're not careful, you can consume too much pressure when you're releasing something? a while and I'm happy to do my own thing and then you're not interested in it anymore. Do you feel like everything needs to be a and not watch everything. You know, Plastic definitive statement, or do you feel limited in People is still an amazing place for me, and I know you have the one collaboration with your ability to just try things out because it it's not so much FWD >> anymore, but there on the new album. Do you follow has to come from the Kode9? are other nights that I just randomly go to. that sort of LA-centric so-called "beat scene" No, not at all. I mean, the only limit is last year And occasionally I do these all-night things at all? I think I started to lose the plot of it, where I from 10 to 6 where I just play whatever I feel A little bit. I love Flying Lotus' stuff. I loved didn't trust—I stopped trusting my own ability like. Plastic People is still a key place for me, his last album. I know most of the guys, and to say, "Fuck you, I'm putting this out because where I can hear music and the way it sounds the people that are involved in it—all really I like it." It's not that I stopped doing it, but is completely inspirational. And it's kind of cool people. It's not something that's big on I just started to question some of the stuff misleading, actually, because you end up my radar. I mean, I love the general vibe—it's too much. But generally, if I like something making music to play on that system and it growing and growing and has a lot of its own enough, it's a bit of a fuck-you attitude. It's will sound shit everywhere else. internal intricacy, but it has a sound, and you like, "I think this is great. I don't give a shit if can kind of pinpoint that sound just like you you don't like it, because if you don't now, you When we interviewed Four Tet, he sorta can pinpoint certain styles of dubstep, so I will learn to like it."… The fact that there is no had the same thing to say. Specific to don't follow every single release. The stuff that pressure is because we are in a nice position Plastic People, he made tracks for that club, I always loved, coming out of LA, was the stuff where people are quite open-minded about informed by those experiences. Which is a with vocals. For me, that was more singular the label. But last year I did lose it. really unique thing. I don't get the sense that than the instrumental beats. Stuff like Sa-Ra, people are doing that in, like, New York. which was more in that tradition of fucked- Do you feel like you've got it back, especially I mean, obviously dubstep had its infatuation up psychedelic R&B. Flying Lotus is slightly with your new album coming out? Ramadanman's FabricLive mix will be with sound, physical sound, and obviously separate for me, especially his last album, I'm really happy with the first few releases released in April on Fabric. soundcloud. a lot of that came from Plastic People, but, which went so many different places and is we're doing. The Morgan Zarate release com/ramadanman you know, it kind of inherited it and took it compressed with so many ideas... You know, I think is fantastic, and the Funkystepz elsewhere. And one of the positive things the idea of instrumental hip-hop, a bit like release I think is really fantastic. And they about dubstep is that it reminded people dubstep or instrumental grime, only appeals are two new artists on the label who've come "I don't think fragmentation itself is necessarily that interesting—it's the about the importance of the sound being to me to a certain extent, but I don't think his with something completely different from loud enough but not painful. Maybe, the album is instrumental hip-hop. everything on the label, and I'm DJing with UK, everything is falling apart, and...?"

34 35 them, which I don't always do—with releases. I think last year was What's the packaging going to look like? A Few Words With The Spaceape a lot of experimenting with how wide we could spread out. I have a The packaging is done by our usual artist Manuel [Sepulveda, who feeling that this year is a bit more—I don't know what the word is— designed this issue's cover]. classic. Classic Hyperdub, as opposed to stretching out and seeing how wide we could go last year. I don't think we'll release as many He runs Citinite. singles this year; I think we'll try and keep it more focused. Yeah, which is an amazing label as well—really inspirational label. So the packaging looks like a Japanese woodblock; it's like a desert Thematically with your music, it seems like a lot of it touches on landscape with a huge, really vivid orange sun kind of refracted paranoia, existential dread, and a real sense of foreboding. Do through these clouds so it comes out green through the clouds. you think those are still important themes for you to work with? This fictional world that the album takes place in is a world after I don't think they're that important in this album. To be honest, an unclassified radioactive event, so it's not that the world is I think we exorcised the dread thing in the first track; we kind of destroyed and dark like a wasteland—it's just that everything is a deal with the first album on the first track of the new album. We bit weird and glows in a strange way. And the atmosphere is a bit deal with it with a lot more energy than we had on the first album. polluted and toxic, therefore the sun comes through in these weird XLR8R: Tell me about your first meeting with Kode9... when and Can you run through the genesis of a couple more of the tracks? I don't think the album is particularly dreadful or paranoid or colors—green sun, black sun. And the characters in this world where did it take place? claustrophobic. I mean, it's certainly still set in a post-apocalyptic react to this event in different ways, because the radioactivity One of things I tried to do was create characters, and through them world, and it has a whole fiction surrounding it that you'll get when makes people's bodies mutate, but there is a lot of people in the The Spaceape: I met Kode through a friend over 10 years ago. He we can navigate the new landscape. This is evident on tracks like you see the artwork (there is a little graphic-novel kind of comic story who react badly to that and seek salvation in monotheistic used to DJ in South London as well as run the online journal that was "Neon Red Sign" and "Promises." In "Neon," I had the line "He saw a strip in the artwork that we're still working on). Me and Spaceape, religions, and we call them the Othermen. And then the other Hyperdub back then. I used to go to some of the nights and hang out. neon red sign today" in my head, which actually came from listening we look back on that first album and we're like, "Fucking hell!" people in this story, I think we have more affinity with, take this It wasn't until we shared a flat together around 2002 that we began to The Beatles' "A Day in the Life," with the great opening line, "I read When I was talking to someone the other day, I was trying to look synthetic substance called , which allows them to survive working together. It took quite a while before we actually recorded the news today/Oh, boy!" I write about a man on the run from prophets up the words for sleepwalking, like somnambulistic or something, in this polluted atmosphere. So instead of seeking salvation in anything. Kode would always say, "I gotta get you on the mic and warning him about his future. "Otherman" started out as a short story and for us anyways it feels so catatonic. I pitched Spaceape's voice some Babylon-type place, the last line of the story is "they stay record something one day," but we were both busy doing our own about the uneasy relation between two tribes who love and loathe right down, and the rhythms are very linear, and I listen back on it, and remain to bathe under the black sun." The story came after the things at the time. I remember one evening we were listening to music, each other in equal measure. They are one and the same but can't see and think, "Wow." I don't how we got into that headspace to make tracks; we wrote all the tracks and then were like, "What the fuck chatting about tunes we liked, playing each other vinyl we had in our through the hatred and envy. It is one of the tracks on the album that music with that much weight on top of it. So we just didn't want to have we just done?" And then we were like, "That lyric resonates collections. Kode again suggested we record something. Back then I has no chorus or obvious vocal hook. I rearranged it slightly, but it is do something like that on the second album; we wanted it to have a with that, and that with that," and then we built the whole story was writing short stories that were lyrical in their flow, but primarily I still essentially how I originally wrote the story. bit more energy, and, I mean, it's not a carefree album by a longshot after in order to have a visualization of the art. was a video artist running my own project called Uncoded. So, being a [laughs]—it's not jokey or frivolous or whatever. It still takes place massive fan—up to and not much beyond Lovesexy [laughs]—I How much of the lyric-writing process and song formation is in this post-apocalyptic world, but it's more surreal than it is dread. And the idea of futurism, or exploring the future, it seems like the picked up the Sign "O" the Times album and read the lyrics to "Sign informed by your live performances with Kode9? We wanted it to have more energy, feel more awake or more alert, idea of your album is some sort of future... o' the Times" in Jamaican patois over a low bass pulse. That one- A lot of this album was born out of our live set. Our live set is very and [have] more color. I didn't really use analog synths on the first It's more implicit in this album and it was more explicit in the last take recording became "Sine of the Dub" (or "Sine"), and we've been free and fast moving. There are no breaks in tracks—just one hour album, and there are a lot of them on this album. album. working together ever since. of continuous sounds. We curdle a lot of sounds together that can sound literally sick, but work for us. And lyrically, it's similar in that I What sort of outside factors inspired it? What kind of things were Do you think the idea of futurism is still really worth pursuing? At Do you write all the lyrics for your collaborations with Kode9? freestyle more on stage and certain things that I think work, I bring to you looking to, or was there anything conscious? what point has the future arrived? With the exception of our first two releases, "Sine of the Dub" and the studio and record. For example, towards the end of the opening Going back to the Brainfeeder thing, when I met Flying Lotus, I was Now! [laughs] For me, of course it is, because all that means is "Spit," which were covers, I write all the lyrics for our collaborations. track "Black Smoke," I repeat the refrain "I wonder seeing heavy black inspired by his music and Samiyam's, the way they use synths— being shocked by hearing something new, and that's the core of Initially, Kode used to give me a rhythm and I'd write something to it. smoke ahead" over and over again. This came because I was doing it totally. And that changed something in my ears, because dubstep it—the shock of the new. I can't imagine not wanting to be shocked However, now it's moved on. With this album, I'd write something and live and it added an intensity and a climax the track needed. was very grey at that point. That's the influence that that stuff has or surprised by new music. It's not like I listen to new music all maybe record a vocal for Kode to make a beat for. Sometimes it would had on me—sidechained synths, breathing, really colorful synth the time; I often find myself looping around old albums that are be the other way 'round. We also spent much more time in the studio melodies—particularly Samiyam and FlyLo. Not so much the beat my favorite. But you get into a holding pattern with your listening together on this album, and I'd be on my laptop writing stuff whilst thing, but their synths. But actually, nothing inspired the album, habits just because you're not hearing stuff that's taking you Kode was busy trying to get a drum sound or something. Black Sun is out in April on Hyperdub. Read the complete Kode9 interview really. It's just like years of sweat and blood and interruption. I somewhere else. And obviously sometimes you get that shock hyperdub.net transcript at XLR8R.com/138extras. What sort of themes did you aim to explore with Black Sun? mean, you can ask Spaceape what inspired his lyrics, because he from hearing something old that you've never heard before, but for can tell you a lot about that. What inspired it musically is really me it's just about there being some change, and everything's not Well, I didn't know what I wanted to explore when I started writing just... you know, it's partly the fictional thing: We're trying to create standing still. Because that's when you have to call in the straight for this album. But I knew I didn't want to cover things I'd written a fictional world, and so you're like painting with sounds or trying jacket—when nothing is changing. There's this J.G. Ballard story about on . I began writing about things that to color in this imaginary world, so each track is like a different called "The Day That Lasts Forever" in which the earth stops either touched me or hurt me in some way, and as I was writing, scene. Doing this graphic-novel thing with an artist friend of mine spinning and there is no night or day, the clock stops, everything and the stories moved further and further away from me, it became in New York, this guy Raz Mesinai, the musician Badawi. So he's stays the same. There's no night, so people find it hard to sleep and clear these stories inhabited the same world. A place that breathed a doing the mini-graphic novel for the album, and just working with they stop dreaming and their awake life becomes a dream life, and different atmosphere; had different rules; politics; desires; religions; him on that, it's almost like we're doing a storyboard to an invisible becomes hallucinogenic. Anyway, that's all cool, but then I found even a different light to our own. We wanted to create an accelerated film that never gets past the storyboard phase. Just trying to put this line that was great: the night never comes, but there is this sonic fiction where elements of what we know still exist but are now images to this stuff—that is a really interesting, and new process character and she's like, "I feel the night coming in like a black sun either warped or fragmented. I wrote a "love song," "Promises"—it's for us. on my face," which is great because it's the feeling of some kind of about an illicit, destructive love that seems impossible but exists in change. the world created for it.

36 37 ORM T

A m bient noisemaker Tim Hecker ponders snowy tundras WORDS: Walter Wasac z PHOTOS: VINNA LAUDICO and M.I.T. experiments of a bygone era. E S C HE I HE T Quite possibly the last thing you'd expect Tim Hecker to admit to possessing is a "tropical soul."

Not only is he Canadian, but an artist best head is not an easy one to penetrate—and he a teen in the town of North Delta, he says he known for producing some of the most admits that, too. "Sorry if I'm a little evasive. got turned on to bands like The Pixies and impressively glacial soundscapes just south Hope I'm giving you enough to bite on," he The Pogues in the late 1980s). of Thomas Köner's and Biosphere's arctic says at one point. Don't misunderstand: He's He moved east to do graduate work at ambient masterworks. Hecker's most recent not unpleasant, surly, or testy throughout an Concordia and McGill universities, both in L P, Ravedeath, 1972, was recorded in a church hour-long interview, and we're not wrestling Montreal. Hecker's been there for the past in Reykjavik, Iceland, and earlier song titles over words. His resistance to probing comes 12 years, aside from a short time living in include "Arctic Lover's Rock," "Boreal Kiss," straight out of Roland Barthes' "Death of the Canadian capital, Ottawa. He's currently and "Music for Tundra." the Author," critical theory that separates finishing up a Ph.D in the cultural history He was born in British Columbia before the creator from the created work. Barthes of sound at McGill. He arrived in Montreal moving east to Quebec and, briefly, to basically said the author's identity and just in time to join what was developing into Ontario. But his soul? Well, he says it's not other biographical details are inessential to arguably North America's richest—in terms where you might think it is. "I mean, people judging the finished product. Hecker breaks of talent, that is—experimental techno scene have said there is this 'Canadian-ness' in my it down this way: "Sometimes I'd just rather as the century was about to turn. He began music, but I don't think so," Hecker says via not know the people." He's referring to people making dance tracks as Jetone, sent demos Skype from his home in Montreal, where it's like him, who make largely unclassifiable over to Force Inc. in Frankfurt, and had his cold and snowy on this January afternoon. music channeled from some unknown source. debut full-length, Ultramarin, released in "There is 'place' in the music I make, though "There are usually too many questions and 2001. It was solid work, up there with the I think it's minor. But then I've always been not any real answers. I like to talk about it a best and quirkiest jams of the day by people wishy-washy about geography." little bit but prefer enigmatic discussion and like Mikael Stavöstrand, Stewart Walker, Fair enough. After all, Hecker's second LP, bouncing off ideas." Billy Dalessandro, Geoff White, and Yagya. , which he released on 's His Jetone track "Bassblind Sunblind" was Mille Plateaux in 2003, was a shimmery And so be it and so we will. But first some included in a Force Inc. comp called Montreal meditation said to be based on a marine obligatory biographical details need teasing Smoked Meat, which featured other then-up- voyage he took off the coast of Honduras in out for newcomers to Hecker's unique and-comers on the local scene like Akufen, the mid-1990s. And Harmony in Ultraviolet, sound art, which by turns is agitated and Stephen Beaupré, Deadbeat, Jeff Milligan, and which came three years later, contained pastoral, and bears as much similarity to the Mike Shannon. beatless white-hot fuzz rock (seek "Spring productions of, say, Kevin Shields as it does "I had lots of friends who were producers Heeled Jack Flies Tonight") cranked to 11, and to those of the patron saint of ambient, Brian and there was definitely a community, though the gorgeous, warm-blooded oscillations of Eno. Hecker comes from suburban Vancouver, I was bouncing between different scenes— "Blood Rainbow" and its companion piece, and moved into the city in the early 1990s rock, noise, metal—so I wasn't strictly a "Rainbow Blood." to attend the University of British Columbia. techno club kid," Hecker says of his early Hecker is all over the map, sonically This period provided a musical awakening days in Montreal. "But I was listening to Mike speaking. And to try to nail him down on of sorts, exposing him to "spazz rock and Ink, Gas, Chain Reaction, and Warp. The city where he's going with it might be difficult. His electronics" as an undergrad (before that, as was very sympathetic, in terms of North

40 41 "People have said there is this 'Canadian-ness' in my music, but I don't think so."

American response to this kind of music. And MUTEK [which launched What he didn't want, and didn't get, is an LP that "returns to in 2000] played a big role in inspiring the scene." organic instrumentation," says Hecker. "Too often the narrative reads, 'experimental producer discovers real music' or something like that. Not content to only roll out beats, however abstract, Hecker found This is definitely what I'm not into at all." He underscores the point further inspiration on the digital cutting-room floor. More to the point: by saying he "abhorred the whole folktronic movement," which is He began to work more closely with the sounds he used for interludes reassuring but not necessary. This music is too coiled up and ready in his dance tracks. "I had a lot of material left over from Ultramarin to strike, and still too synthetic and futuristic to ever have the prefix that wasn't percussive that I wanted to explore," he says. "[The] Alien8 "folk" attached to it. [label] is one of the few supporters of this music in Montreal. They And it sounds like it was all mastered to be heard ear-splittingly became interested in what I was doing." loud—in fact, all of Hecker's recorded output does, but the sub-bass So much so that the leftfield imprint created a sub-label called rattle and hum, beginning with the wobbly overtones on the opening Subtractif to release music that veered even further from the pulse track, "The Piano Drop," approach evil-scary levels. of the club, but wasn't exactly wallpaper music, either. Artists like Intentional? Mitchell Akiyama, Thomas Jirku, and Hecker all had music released by "Very much so. I'm obsessed with physical, ego-dissolving, the label in 2001. Hecker's challenging Haunt Me Haunt Me Do It Again pummeling music at maximum volume," Hecker says. When he talks and My Love is Rotten to the Core EP were forerunners of all that came about contemporaries he admires, he name-checks dirge rocker after: crackling melody, disembodied voices, drone distortion, and Stephen O'Malley over anyone remotely connected to the so-called feedback mayhem. ambient electronics scene. The aforementioned Radio Amor hit at the perfect time—when Force But no, this is not a Sunn O))) record, even at its most fierce. After Inc. Music Works' boutique sub-label Mille Plateaux was just at the "The Piano Drop"—which refers to a photo of a group of MIT students end of a string of releases by some of the most radically innovative pushing a piano off a roof in 1972, this album's cover image—only a electronic musicians in the world: Frank Bretschneider, Vladislav Delay, few pieces keep up a steady bludgeoning: the last half of the three-part Ekkehard Ehlers, Alva Noto, SND, Terre Thaemlitz, Gas, and Köner suite called "In the Fog," "Hatred of Music II," and "In the Air II," which among them. features shredding guitar feedback and other effects for a little more than half the piece, before pretty, pouncing piano motifs guide the In 2004, Alien8 released Hecker's Mirages, and 2006's Harmony in track into a more ethereal calming zone for "In the Air III." Ultraviolet began his relationship with Kranky, which continued with Ravedeath's best track could be "Stereo Suicide, 1980," which in 2009 and Ravedeath, 1972 this year. Listened indistinctly recalls My Bloody Valentine interludes on the band's to together, Hecker's body of work casts an evolutionary spell, rising Loveless LP, or the epic "Hatred of Music I," which combines the and falling, crashing and colliding, then settling and soothing when celestial majesty of the pipe organ filling up a sacred space with the you least expect it. Hecker (dare say, enigmatically) interprets what raw power of undulating noise bringing it down back to earth. he does as "inhabiting the carcass of sacred music without providing Hecker has taken a keen interest in playing inside churches and a guarantee of the divine. It's not simple to decode, but—I hope— cathedrals—one of his best gigs ever, he says, came at 2010's Unsound rewards with repeated listening." Festival in Poland, where he performed at Krakow's St. Katherine's He sees an evolution in his music over time, but to Hecker the Church. He performs live about 40 to 45 times a year, has made his changes are subtle, even as the sonic information has grown denser. He studio his primary instrument (perhaps his one nod to Brian Eno, insists that "the palette is the same as before, the mood is the same." who did the same), and is on a decade-long streak of successfully Which leads us back to our "enigmatic discussion" of Ravedeath, producing intermittently harsh and strangely beautiful music that 1972, which was conceived during a wintry period of incubation in defies interpretation and still overwhelms. Hecker says simply, "I'm off Montreal, then executed on an endless midsummer Icelandic day in the grid, I don't know if I'll ever get back on." Maybe that's all we need July of last year. Hecker says the original idea may have been to release to know. a church organ performance as a fluid live piece, but that it became more interesting when the sounds were organized in a studio setting. The project was done with the assistance of Ben Frost, who performed on and helped engineer the record. Hecker himself played all Ravedeath, 1972 is out now on Kranky. Listen to Tim Hecker's XLR8R podcast at instruments—including pipe organ, computer feedback loops, guitar, sunblind.net XLR8R.com/138extras. and pedals. Frost also played piano on the recording.

42 43 STRICTLY BALLRoOM

After decades in the shadow of vogue dancing and culture,

ballroom beats come to the fore.

WORDS: Marke B. PHOTOS: JOSH M C NEY Step on edgier dancefloors nowadays, and you best be prepared to come a little cunty, honey. Dip, drop, duckwalk, catwalk, hands, hands, hands: vogue dancing and ballroom culture are experiencing another moment in the media spotlight.

This time, however, they're bringing the ballroom Malcolm McLaren's 1989 release "Deep in Vogue" McCloud on the Abducted label presents the beats with them, beats that are finding their way climbed the dance charts and then 's novelty of a straight, white gangster-rap producer into sets from DJs as different as Kingdom, Greg "Vogue" became a blockbuster pop hit. For many emulating the old-school vogue sound he adores, Wilson, Seth Troxler, and Nick Curly. outside the scene, those two songs may be all with a futuristic twist. (It's actually quite nice, as As a gay and transgender African American they know of the sounds that accompanied the it turns out.) expressive form, modern has been fierce chop 'n mop house battles taking place in But that golden ballroom moment was 20 around since at least the 1960s, transforming the Harlem and the Lower East Side at that time. years ago. Vogue culture has changed. It's riding necessarily underground gay tradition of meeting Jennie Livingston's great 1990 documentary of a new wave of exposure, through thousands of in rented ballrooms for private parties—gay bars vogue culture's golden age, Paris is Burning, fan-posted YouTube videos, the massive viral and dressing in drag in public were illegal back stinted on musicology in favor of social reception that accompanied the five-member then—into jawdropping spectacles of over-the- commentary and sheer spectacle, and an Vogue Evolution team's televised run on top gowns and performances. Over the years, the avalanche of AIDS deaths obscured much of the America's Best Dance Crew in 2009, and Willow mainly New York City scene gradually developed vinyl lineage. Smith's "Whip My Hair" video, which features an intricate system of drag-house families, So it's no shock that the constantly advancing Leiomy of Vogue Evolution and centers on her themed ball events, status hierarchy (stars, retro machinery is lately unearthing signature "Leiomy Lolly" hair-whip dance move, statements, legends, icons), and style of fashion gems from that short era, burnished as they are also co-opted by and Beyonce. runway-mimicking battle dance, or voguing, all of with mystery and glamor. The work of Danny and Looser, less formal groups of young voguers which are still evolving as the culture has taken David Ian Xtravaganza, Jose & Luis, Robbie called kiki houses are springing up alongside the root in the Midwest, the South, and even Europe. Tronco, and Frankie Fuentes and specific vogue- established houses. A more aggressive style of Sometime in the mid 1980s, the gowns began to oriented tracks by Armand Van Helden, Robbie voguing has taken over, as "vogue fem" (or "vogue drop to the wayside, and the dancing, Rivera, Junior Vasquez, and Danny Tenaglia are femme") continues to dominate the floor. And a soundtracked by disco sounds from 's all finding new lives through re-edited versions new generation of DJs and musicians is doing the 1978 "Got to Be Real" to Maxtrack Orchestra's or straight-up '90s dancefloor revivalism. Recent once-unthinkable—making new ballroom beats. phenomenal 1988 "Love is the Message," took high-profile releases like Kim Ann Foxman's over the runway. "Creature" and Butch's "No Worries" tap into the In the late '90s, a different way of voguing began The ballroom scene experienced a mainstream old-school vogue vibe in their own ways, and the to come up. Like most styles of dance, vogue fem breakout moment in the early '90s, when first forthcoming "Relax Relate Release" by Charles is more about a look and feel than a hard-and–

46 47 "It's definitely all about the Ha. When I heard that track, I knew what I wanted to do." — DJ MikeQ

fast set of rules. It can encompass ultra-feminine, ballet-like "The Essicasy Ha" draws not just from "The Ha Dance," but "soft and cunty" movements on the one end, and George Kranz's 1983 staple "Din Daa Daa" and acid house. hyperactive, stunt-driven "dramatics" on the other. Wild hair That easy rapport with the past is rooted in his tosses, heart-stopping drops, and angled twirls became the experience—he's been clubbing since he was 11 years old, vogue fem hallmarks, however. With the new style, dancers and helped bring voguing to Italy when he was an exchange began to gravitate towards nervier, more anxious music with student in Naples. sharp orchestra hits, cascades of percussive crashes, and "What it comes down to, is that whereas before there super-choppy samples. The gracefulness and glamorous were a number of songs to play for the dancers, when vogue poses of the Old Way made room for more attention- fem started getting popular there were only about six that grabbing moves, and the amped-up speed garage sound of really worked," Vjuan tells me. "It was frustrating because I the new tracks wouldn't feel out of place on contemporary hate to repeat songs. So I became the first DJ to start making dance labels like Night Slugs or Fool's Gold. original tracks in that style. It just wasn't done at the time." Kevin Aviance's maximalist 1995 club song "Cunty" became the explicit anthem for this style, and "cunty" Dance music historians may not be surprised that there's a became its highest praise. But the true musical rock on connection to the Motor City. "I was asked to spin in Detroit which vogue fem was built is the 1991 Masters at Work track at the Post Bar. Eric Christian Bizarre was commentating a "The Ha Dance." As a house release, "The Ha Dance" ball there," Vjuan says. "This was around 2000. I had brought sounded pretty hard-driving for its time, relentlessly all this music, and I was playing it—and in New York or DC looping and manipulating a short sample from the movie they would have been dancing, but in Detroit they were not. Trading Places until it was transformed into a heckling They were just standing there… until I dropped the Ha. Then metallic squiggle. With its bouncing crashes and staccato every kid in the building jumped up. And I was like, 'You bass, it was perfect for the new style. And its elements could have got to be kidding me.' And I got mad, because I had easily be reconfigured and combined with other samples to been told to bring things like 'Love Hangover'—very basic create even more vogue fem tracks, an endlessly replicating things. I got mad, and I went home, and I started to create Ha that drops the queens to the floor. the first . Something just drove me to it. "Oh, it's definitely all about the Ha," says 25-year-old New "I used the Ha for my first track because I knew that that's Jersey-based DJ MikeQ, one of the three biggest DJs making what they wanted to hear—because of vogue fem, everyone ballroom beats today. "When I heard that track, I knew what wanted the crash. So I gave them the crash but I changed the I wanted to do." Like Atlanta's Legendary DJ Angel X and the beat—I actually made it more dramatic. It was my own new sound's originator, Washington, DC's Vjuan Allure, creation." MikeQ spins a variety of different music, but is primarily Still, despite previewing snatches of them in his sets, known for his vogue fem style. Also like them, he sells Vjuan felt "really scared" to play his own tracks, feeding dozens of self-produced tracks through his extensively them instead to his mentor DJ Sedrick, Legendary District developed website, and heavily brands each one with his House Mother of DC and beloved anchor of the East Coast audio tag. gay black house scene. According to Vjuan, word "spread Now a member of the House of Ebony, MikeQ went to his like wildfire that there were new dramatic beats being first ball at the Globe rental hall in downtown Newark in played—but still I wasn't ready to step forward." 2003, and made his first track a year later. (He started out Finally, he was forced to take ownership at another with an Akai MPC1000, but currently uses a variety of sound Detroit ball, this one hosted by House of Rodeo. "It was very, programs and a "voice changing box.") His Qween Beats very hot in the venue and Goddess Rodeo had these huge Productions company is a revolving collaboration between fans going. The commentator, Jack Mizrahi, hadn't shown up himself and various vogue MCs, known as commentators. As yet, and this was hours into it. I was going to run out of for his musical style, his quiet, reserved manner in music. So I thought, 'It's now or never,' and went into a whole interviews belies an artful canniness that makes room for a Vjuan Allure set. And the place just went nuts. So that's how wicked sense of humor: His recent hit, "I Whip My Ha," I knew." closes the -Masters at Work vogue loop, and Vjuan prefers his tracks to come fast and physical, an the just-released "Maurica" jumped on a comedy routine urge cemented by his status in the House of Allure. "I have internet meme almost before it materialized. my Simian sampler workstation, my Kawaii drum machine, Down in DC, Vjuan Allure, of the Nannie Trax label, is and some sequencers, which is how I prefer to work. I can busy combining classic flair with future Ha. His "Come On knock out a track in 15 minutes. With a computer you'll and Get You Some More" from 2007 is a nod to First Choice's spend 20 minutes just doing one part. It's a hassle. I like to "Let No Man Put Asunder" from 1983, while barnstormer hit that trigger, to get that timing with the cue buttons and

48 49 really feel the rhythm. What you hear me doing live when I'm out, I'm actually doing live. "One of the things that sets me apart from every other DJ who makes music is that I'm the only one who walks. I vogue. I walk Old Way, that's my category. It's natural for me, and the energy for me to dance, period, has to be high. So my tracks come out that way, not matter what kind of tracks I'm giving you—vogue fem, face tracks, Old Way songs, legends, statements, and stars songs. The energy is always high, high, high."

If MikeQ comes off as smart yet shy, and Vjuan Allure as outspoken and motherly, then Legendary DJ Angel X is the bad- boy lover of the three. When I ask him why he moved down to Atlanta from his native Brooklyn, he immediately says, "The boys. I personally love the black guys, and this is where the hottest ones are." Angel X belongs to one of the most storied New York-based houses, Xtravaganza, but he came down south a few years ago at the request of Icon Andre Mizrahi to help him out on balls. The Atlanta scene keeps him as busy as the other two DJs, with gigs almost every night of the week, about 30 percent of them ball-related. He's been making beats since 2003, following in the footsteps of Vjuan Allure, and he got his start as a DJ at the fabled Stonewall Inn in Greenwich Village when he was 16. Angel X's Aunt Naomi introduced him to as a baby—"No matter what I play, I always return to the house," he says—but his productions, made mostly on Fruity Loops, a wide-ranging ear. His breakthrough was a breathless cross-pollination of "The Ha Dance" and the theme from the X-Men animated TV series of the '90s. Newer tracks, however, draw from Detroit techno, music, and more global sounds. "I like to play with whatever catches my ear, then come back to it over a couple months' time when I have something to add," he says. "Often I don't know what spirit got into me." (His restless ear could be symptomatic of a restless spirit; he told me he sometimes finds the ball scene "corny" after all this time and wants more gigs at "regular" gay house parties.) Besides moving the music forward, Angel X is emblematic of the spread of ballroom culture. While many of the new wave of Ha makers—Brooklyn's Divoli S'vere, New Jersey's DJ Rico— still hail from vogue's original locus, others, like Shariff and Kevin JZ Prodigy from Philadephia, Houston's B. Ames, and the Bamabounce collective from Birmingham, Alabama, enlarge the geographic perspective. Vjuan, Angel, and MikeQ travel around the region constantly, and have yet to notice any specific regional vogue dance or musical style. "With the technology, you don't have that kind of differentiation," says Vjuan. "Once someone does something new, everybody can see it or hear it. That's the great thing, even though it leads to a lot of copying. Everyone can know about your ball now—where it is, how much it is. And anyone is welcome to come to a function. You'll have to put up with a whole lot of gay kids, but you can come. "What I do worry about is things getting watered down," he admits. "People coming in and thinking they can throw a ball when they've never even been to a ball. I don't ever want to lose the original creativity, the spirit that's been passed down. Once the creativity's diminished, that's the downfall."

vjuanallure.com, Check out Jennie Livingston's djangelx.com, Paris Is Burning and DJ MikeQ's djmikeq.com exclusive podcast at XLR8R.com/138extras.

50 gear andgear stripped-do Tw o v ideo-store re f ugees re f resh UK w n rhyth m s. b ass w

ith v M

intage ental-B

reakdown

Words: tomas A. Palermo PHOTOS: ben rayner They spent years watching Aliens, Akira, Blade Runner, and Tron movies in the video shop, and hundreds of nights out exploring hardcore and jungle warehouse raves. Then there were countless days surviving England's bitterly cold weather

Maybe it was buying their first studio gear and absorbing sunny '80s or meeting drum & bass innovator Darren "dBridge" White at London club The End synth pop. that fueled their dreams. These moments and a million others forged Alex Green and Damon Kirkham's friendship, and led the duo to form Instra:Mental and define a new path for UK bass music. Kirkham and Green's collaboration has lasted since their initial meeting at age 11 and culminated in multiple British music awards, a thriving label, and the massively popular Autonomic podcast series. Although initially aligned with the drum & bass circuit, Kirkham and Green's current output isn't locked in to a specific speed or cadence. Instra:Mental's music is defined by edgy, stripped-down rhythms that leave space for rich, - saturated melodies. "We don't like to sit still on a tempo or an idea. We're [always] evolving through new techniques and rhythms," says Green. Resolution 653, Instra:Mental's forthcoming debut album on the duo's NonPlus+ label, unites electro, drum & bass, Detroit techno, and other electronic offshoots on tracks that blend 1980s influences with high-tech refinement. The album offers songs like "When I Dip," an ardent electro workout that sounds like Newcleus retooled for the Dirty South era with machine-gun claps, Moog-y bass patterns, and rap vocal snippets, while techno-dubstep hybrid "Thomp" features swiveling, stomping rhythms that sound like they should be blasting from a Rio favela. It all comes after a six-year break from producing, and they've virtually abandoned drum & bass.

54 55 "Growing up in that time with wonky VHS tapes had a lot to do with the cinematic style of the Instra:Mental sound."

After early years absorbing hip-hop, further leftfield, "Futurist" has a Mark Pritchard- jungle, and culture and listening to everything style broken-beat feel. For these tunes, Kirkham from N.W.A. and Autechre to Optical and Drexciya, and Green rely on vintage techno drum-machine Kirkham and Green rented studio time to record rhythms and pads that hint at '80s synth icon drum & bass tracks and eventually bought synths Vangelis. Also trading on the retro influence, the and computers. A solo effort and two split singles title of their collaborative track with dBridge, "Blush with Source Direct on the Demonic label in 2000 Response," references Vangelis' composition from did well enough that money started coming in. But the Blade Runner soundtrack. quick fame led to stagnancy and life caught up with "I grew up in a video shop," explains Kirkham. "My the pair. They retreated from music until 2007, when mum owned it and I helped run it with her. Alex and they released "Comanche" followed by "Rogue" b/w I both used to watch all the films before they hit the "Sakura" on Darkestral Recordings. "We re-entered shelves. Growing up in that time with wonky VHS the scene with the tracks 'Comanche' and 'Naked tapes had a lot to do with the cinematic style of the Zoo,'" recalls Kirkham. "We were pushing something Instra:Mental sound." Green has a similar fondness new and refreshing into the drum & bass scene." for his '80s upbringing. "Watching the films and Another single, "The Chamber," was also widely hearing the synthesized pop music and film scores lauded despite, according to Green, being "to the left from that period made me who I am," he says. of what everyone else was doing." The same retro/future mix is heard in the duo's Things moved quickly after that: By 2009 they incredibly successful Autonomic podcast series, linked with dBridge for releases on his label, which features significant electronic artists from founded the NonPlus+ imprint, and started the the past alongside edgy new and unreleased tracks Autonomic podcast series. A high point came in '09 by friends and collaborators like dBridge, ASC, when they released the moody, minimal vocal D&B and Vaccine. The podcast's success also led to tune "Watching You" on NonPlus+. "The track came Instra:Mental and dBridge being invited to mix together really naturally," says Kirkham. "Everything FabricLive 50. just slipped into place." The song was mostly written on a classic Yamaha DX-7 synth and features Although Green and Kirkham's main focus now is dBridge's vocals processed with Kirkham's custom promoting Resolution 653, the two compound their Reaktor patch. already hectic schedules with multiple side-projects, aliases, and A&R work for their label. Green solos as Just as fans and the press were praising Al Bleek and Boddika while Kirkham moonlights as Instra:Mental's complex, stripped-down drum Kid Drama and other monikers that he won't reveal. & bass, the duo changed direction again. "I was They run NonPlus+, a label now 10 deep in singles by struggling to write interesting beat patterns at 170 ASC, Vaccine, and Jimmy Edgar, with new titles by [beats per minute]," explains Green. "I was spending Actress, Skream, and Lotek on the horizon this year. hours in a session and not feeling satisfied. As Instra:Mental also releases tracks for other imprints soon as we slowed the tempo down, things started like Paulo Pereira's Naked Lunch label or Loefah's coming together more easily." Kirkham echoes the Swamp81, and have an upcoming single for producer sentiment, adding that some patterns and grooves 's 3024 imprint. The boys will explore solo worked better at slower speeds. "You just roll with releases this year, as Green's Boddika has six tracks whatever feels right," he says. committed to Swamp81 and a 12" for Naked Lunch Instra:Mental's music is cemented by a precise with more material forthcoming on NonPlus+ and balance of vintage and future studio technology. Hotflush. Working out of a studio dubbed The Zoo, Green And who knows, they might even return to and Kirkham still use the original gear they bought their drum & bass roots soon. "I have some really as teens with added high-end dynamic hardware interesting ideas for new beat patterns at 170 bpm and various synths. "We're always buying and now," says Green. "We may have to give them a selling different equipment," says Green. "It's fun whirl some day." He adds that like most great studio for us to get new toys; it instantly inspires us." But, collaborations, his and Kirkham's music mostly Kirkham explains, the duo isn't about to reveal all happens spontaneously. "It was never a case of 'Will their production cards. "We've always been quite this work on the dancefloor?' or 'Who's gonna like secretive about our set-up. We're always trying to this?'"Green explains. "The music we've written, create fresh sounds and processes," he says. we've written because we wanted to, and most Their studio innovations are heard on techy importantly because we liked it." tracks like "Tramma" or the electro-fitted "Leave It All Behind" on Apple Pips, whose tense, minimal beats recall Photek's or Source Direct's sparse Resolution 653 is out in April on NonPlus+. production, minus the drum & bass meter. Stepping myspace.com/instramentaluk

56 59

Words: josiah hughes m N Kingdo E D D I B R O F

A look at the mystical, spiritual, and symmetrical work of Melbourne-based cover artist Leif Podhajsky Obsessed with symmetry and geometric shapes, Melbourne- based artist Leif Podhajsky is attempting to harmonize the universe one piece at a time.

Whether he's colliding nature with space or PREVIOUS PAGE: MIDDLE: exploring the human COAGULATED PHYSIQUE dmt time body through photo experiments, Podhajsky's LEFT: RIGHT: multi-disciplined output LYKKE LI WOUNDED RHYMES wanderer inside the sea Limited-Edition Poster. of time; JUNGLE WIZARD resembles an encyclopedia XLR8R: What does a day in your life look like? Is there a central theme running through all of of the metaphysical. He Leif Podhajsky: I usually get up sometime around your work? also has the precise artistic 9:30, shower and make a coffee, feed the cat, then There are definitely certain themes that reiterate skill set to be a master at hopefully sit in the sun for a while. I have just moved throughout my work, such as the importance of the dying medium of album into a new home studio after having one in the city nature as both a source of balance and harmony in art. There's no greater for a few years, so I don't have to go very far to our lives... issues with our delusion and devaluation evidence than the striking begin creating. I check my email and see if there's of time, and our stubbornness in appreciating visuals he provided for anything that will stress me out for the day—this a single moment as beautiful. I am also am very Tame Impala's Innerspeaker can take a while. I usually make breakfast quite late interested in exploring altered or higher states of and Lykke Li's Wounded and then begin working on whatever project I have awareness and the knowledge and wisdom I think Rhymes, both of which going on. If I have no projects, I will usually continue we can attain from these places. There are a lot of possess the depth and working on a number of art pieces that I work on different themes and ideas which I like to delve into, detail of dusty '70s LP simultaneously. This pretty much takes up my day but I guess it comes down to love, knowledge, and covers. Here, Podhajsky until late at night. I have been travelling quite a answers as how to be happy and content. tells us about his equal love bit for work and play lately, which has been a new of Krautrock and magic. element in the mix and a really nice change to my leifpodhajsky.com usual routine.

60 61 LEFT: RIGHT: COAGULATED PHYSIQUE TAME IMPALA INNERSPEAKER ALBUM COVER

Are there specific rules or guidelines for how my favorite part of a piece of work, adjusting colors But this is part of why I love giving visual identity you create your pieces? And do you ever break and contrast, getting it perfect. This is when I sit to music—you have to engage with the artist and LEFT: Above: those rules? back a little and get a buzz on what I have made, the sound and create something which reflects TAME IMPALA lucidity OTHERWORLD The only guideline for me is to try and reflect, in but sometimes you can overdo it and have to both their vision and yours. I have been lucky to POSTER the best way I can, the concept or idea I wish to realize when no more tinkering is needed. work with some great artists so far, where I think examine. Sometimes I have this concept before we have really got the balance perfect. I start a piece, and other times it's organic and Do you ever feel like you don't have any ideas? develops with the work I am creating. I believe Quite the opposite—I feel I have almost too many What is your favorite album cover? breaking rules is the best way to go forward and ideas and different things I wish to explore. I am I have always been interested in album art and learn new things, but I guess when it comes to really interested in doing some sculptural stuff this fusion I talked about above, so it's hard to more graphic-design-related projects, I like to stick this year, and have been dabbling in some motion narrow it down to just one. I recently did an article to clean and simple lines and a more traditional projects also. So I like to mix it up and always push for Modular for my top five album covers and I approach. myself to new levels. If I get a little stuck, doing gave them 12 after much deliberation. I love Storm something removed from what I am working on Thorgerson, Peter Saville, and Mati Klarwein, plus How do you start a piece? How do you know can help to clear the mind and let new ideas in. an array of unknown artists that created covers for when it's finished? I think travel is one of the best tools for getting Can, Beefheart... and the keyboardist from Black What music do you listen to while you work? There is a certain mysticism and sense of spirituality in your work. I usually start with an idea or concept, which I inspiration. Mountain [Jeremy Schmidt] does some exquisite I just finished two mixtape [covers]—one with my good friend Isaac from Does that reflect any of your own personal beliefs or is it more of a either sketch, write down, or preserve in my head. work for their releases. But I would have to say [my the band Young Magic, which has a lot of stuff I have been listening to visual aesthetic that you're drawn to? Then I begin an extensive search for images, When you make album art, is the process favorite is] the cover by Ron Raffaelli for the self- lately, a lot of Afrobeat, early Nigerian and Ghanaian, Turkish pop/psych It definitely reflects certain spiritual or mystic ideas I wish to explore. I photos, cut-outs, textures, anything which I think different than making your other work? Are you titled Free album, which features the silhouette of a like Mustafa Özkent and Selda. But I also have been loving stuff from Teebs, believe the world is going through a huge shift at the moment, and for me, may help form the idea. I have a large image library given guidelines from the artist? women made of stars, leaping across the sky, with Dunian, Yuk, and Shigeto, so it's a mixed bag. The second mixtape is a my work reflects both a personal change and a change I think that needs to to draw from, and am forever collecting and adding Definitely with album art there is usually a brief beautifully restrained typography reading "Free." It Krautrock, psych, and progressive collection. I think part of why I like doing take place in society. I guess the aesthetic reflects the themes I am looking to this bank. Then comes the hard part: actually and time constraints, but I use a lot of the same gives the cover a floating, dream-like quality. And these is I get free reign over creating the album art, which is really fun. at. I use a lot of balance, recursion, and symmetrical techniques, which making the first mark. This is all about getting into approaches across both commissioned and this shit was way before Photoshop came into play. reflect the themes we talked about in the first question, like nature, time, the right headspace. For me, I use music as a way personal works. Developing creative ideas and What are your goals when you make art? magic, love, and the importance of living in the moment. of submerging myself, letting go of the idea enough communicating this idea visually, typographically, What artists inspire you? Personally, I am looking for answers and knowledge, and making art helps to explore the possibilities without a preconceived or however it is, in a way which engages its There's really too many to list: Egon Shiele, Dali, me identify and develop certain aspects of my life I think need modifying, notion of how it should turn out. Sometimes this audience whilst always attempting to push Remedios Varo, Maurizio Cattelan, Bas Jan Ader, balancing, or changing. I like to always be pushing the boundaries of what I comes easy; other times, it's much harder to boundaries and, of course, with commissioned Augustin Lesage, Rudolf Steiner, Goethe, Alex Grey, thought I could achieve and gain new ways of seeing things, and then after find. The mistakes I make often lead me in new work, please both musicians and record labels. So Gustav Klimt, Escher, Jonathan Zawada, Neil Krug, this, putting my work to an audience to see how others identify with what I Check out more of Podhajsky's work directions toward a finished piece. Knowing when the difference may be in the concept or brief, and friends and family. have created is always a humbling and beautiful experience. online at XLR8R.com/138extras. it's finished also can be difficult. This is actually therefore subject to different creative outcomes.

62 63 03/11 Album Reviews

James Blake James Blake

Atlas

The buzz about James Blake has been building for well recordings was smartly cut, edited, and altered with over a year via a series of well-received post-post-dubstep cleverly rendered effects, has impressive range. Other releases on au courant imprints Hemlock, Hessle Audio, reviewers evoke names like David Sylvian, Antony Hegarty, and R&S. A professional association with Mount Kimbie, and Jamie Lidell, and they're not far off. Let's add another: the experimental bass duo with whom he shares some Mark Hollis, the former Talk Talk vocalist whose somber noble qualities—a nerdy-but-cool bravura, pioneering 1998 self-titled LP was a brilliant final statement of spirit, and youthful ambition—has also aided in his ascent. withdrawal from the fast lane of 1980s synth-pop. Hype for Blake's self-titled debut full-length accelerated But Blake's voice and poetry strain to take us anywhere in late 2010 with the release of Blake's cover of Feist's we haven't already been with more experienced inner- "Limit to Your Love," which charted briefly in the UK. space travelers at the helm. Furthermore, his music has Then, thanks largely to sympathetic critical attention for become inexplicably ponderous and static, at times his initial creative spurt and a growing and increasingly seeming to stop dead in its tracks and not move forward dubstep's great white devoted fan base, Blake finished second in the BBC Sound at all. hype moves toward pop of 2011 poll. At 21, tags like "musical genius" were being The saving graces are few. Blake takes what was, to tossed around before his career was able to fully set borrow a cutting phrase from Julian Cope, "MOR slop," and overreaches on his into a solid foundation. That's not his fault, but pitching and remakes "Limit to Your Love" into a dark, dirge-like expectations too high seldom helps anyone in this melodrama that seems to fit him hand in glove. He gives debut album. business. it a slow swing using stark piano, some bass wobble and At first glance, instrumentally, and in terms of its hum, and a funereal drum beat. It's edgy and good. On "I production values, James Blake (the LP) sounds not unlike Mind," Blake sneaks in tropical bass and drum patterns the James Blake we've come to expect. The quirky time that help turn a moribund mood at the song's beginning signatures that take their cues from urban sources (hip- into a near-celebration as it begins to fade. "Measurements" hop and grime) remain. Chopped-up rhythms and the and "Unluck" more than hint at Blake's interest in gospel occasional fat synth twist and tease, before disappearing and soul, though there is something missing here, too. Call and leaving only Blake's voice to bear the weight. It's a it authenticity, or real passion. Call it out for what it is: The risky decision to develop the project essentially as a cycle kind of genuine detail that is nailed in hundreds of African- of ballads, rebranding the artist as a personality rather American churches every Sunday. than a producer. The best track is the haunting "The Wilhelm Scream," That's a tough sell—a trap, really—one that more which features Blake at his lyrical best: "I don't know about seasoned bass artists like Kode9 and Shackleton wisely my dreams/I don't know about my love/All that I know is that avoid at all costs. With some music, the fewer windows I'm fallin, fallin, fallin, fallin." It's also got a sonic charge to it into the soul, the better. The self can stand in the way of that fails to materialize on any other song on the LP, giving expressing the art, and so it does here. us that physical and emotional kick in the head we've Having said that, Blake's voice, which on earlier wanted all along. Walter Wasacz 65 R E V I E W S 03/11

Bibio momentum, such as the twee steel-drum jam example, a piece like "Lucky Luciano," with its what's around the next turn, but you know it's Mind Bokeh "Falkenberg" and the twerpy, wonky synth rapid-fire changes in rhythm and tone, is very Gil Scott-Heron and probably exciting. We're New Here Warp workout "Relaps." Guest Matías Aguayo delivers a much in line with James' work as The Tuss. The Opening with "High Together"—a number that After six years of releasing music under the brief moment of welcomed sleeze on "Singular" record's title track, with its Detroit-meets-garage XL evokes early or Chemical Brothers— name , UK producer Stephen Wilkinson by slithering his hissed vocals around an framework, sounds like a long-lost slice from Venturing out from his beatmaking work as one we're immediately thrust into freaky electro has practically mastered his style of songcraft, otherwise generic, robotic groove that plods James' early days or the Analord series, and "It's third of international indie darlings The xx, here territory on CD-bonus track "Sirimande," which one which relies on pastoral field recordings along at a treadmill pace. What saves this album All Good" is an IDM offering of moody bass Jamie xx (né Jamie Smith) gets to fully indulge his sounds like drum & bass producer Jonny L's hit and touches of folk and . His early are Discodeine's departures into the ambient wobblings, washed-out high-frequency samples, own predilection for the sparest of dubstep/post- "Piper" remade by lazer-house star Sinden. albums (Hand Cranked and Vignetting the realm: An ethereal harp melody opens and lush notes drawn out to blissful ends. Sure, dubstep via the fantastic and fantastically Friedrich makes club-friendly tracks that aren't Compost) leaned heavier on bucolic, Boards of "Antiphonie" before it's broken up and looped pieces like the skittery "Brazil" most definitely unclassifiable post-everything comeback record needlessly drawn out and adds a little late-20th- Canada-esque sounds, but Wilkinson's first into a mesmerizing machine groove; the fall under the rubric of dubstep, but they're of OG of OGs Gil-Scott Heron. We're New Here is century nostalgia to the mix. Mosaik's best songs album for Warp, 2009's , 10-minute closer, "Figures in a Soundscape," preceded by the distorted funk of "Open Spaces," ostensibly a remix record of Heron's 2010 I'm New put a novel spin on '90s IDM and dance palettes, found the artist diving deeper into his love for beautifully places a sad guitar drone that hovers and often followed by the Theo Parrish-like slow- Here, but "remix" is a bit of a misnomer, as so whether it's DJ Shadow-style scratch collages or homespun pop while leaving enough room for while a snake-charming synth riff emerges and motion techno of "Voyager." What's more, the much of that original record is stripped naked wonky, arpeggiated electronica. Elsewhere, the striking beat compositions. On Mind Bokeh, melts away the minutes. Those two tracks record doesn't feel like a cobbling together of and rebuilt nearly from scratch. Consider the cool coyly named "Bad Idea" mines the sample bin Bibio's fifth proper album, the producer possess an adventurous sensibility that's sorely disparate styles—it flows beautifully. handclap blues of "New York Is Killing Me," which with abandon, while "Einmal in der Woche attempts to mesh all of his proclivities into a needed in the DFA disco age, a time when ironic In short, it is rare to find a producer who can Jamie xx renders as a cut-up dubsteppy haunt of Schreien" ("Cry Once a Week") is jubilant Italo sort of pop LP, with a less than desirable quotation marks are placed on too many craft many types of tracks so consistently well, tinny electronic melody, skittering drums, and house tinted with Friedrich's deft sonic acrylics. success rate. grooves. Cameron Macdonald but with You Stand Uncertain, FaltyDL has moody fog. The title track also receives an Overall, Mosaik's many shards form a coherent When Bokeh does work, Wilkinson's arsenal cemented himself as such. Thomas Rees enjoyable overhaul, as it's reworked through a but explosive picture. Tomas A. Palermo of off-kilter rhythms, vintage instrument tones, FaltyDL palette of synth glimmer and tumbling bass— lo-fi-sounding vocal hooks, analog synths, and You Stand Uncertain Jay Haze again, something like dubstep—and sounds not Wolf + Lamb vs. Soul Clap crisp electronics channel the soul of classic AM Planet Mu Love = Evolution so much like a remix as an out-and-out cover. DJ-Kicks radio hits. Though the comparison may seem To be honest, it has been difficult to write about Contexterrior Considering that Heron's version is itself a cover !K7 unfair considering Bibio's experience, those FaltyDL's second full-length record, but not It goes without saying that for the past 10 years, of a Smog song, the end result is a kind of bizarro Can four DJs coexist on one mix? DJ-Kicks thinks tracks—songs like "Pretentious," "Wake Up!," because it disappoints—on the contrary, You Jay Haze has been one of the most interesting funhouse mirror that morphs together the mostly Brooklyn's Wolf + Lamb and Boston's Soul Clap "Feminine Eye," and "Light Seep"—bear a Stand Uncertain might be one of the most exciting and engaging techno producers around, dealing faithful Heron version, the self-consciously simple can. These like-minded duos upturn the sad times striking sonic resemblance to chillwaver Neon records to come out this year. The New York with sounds as diverse as new classical, African and spare original, and a slice of future-forward Jada for a luminous, alluring result. The record promised by their ironically bummed-out cover Indian. Then there are the other songs. The resident (a.k.a. Drew Lustman), whose earliest and Latin American musics, and, of course, the UK bass music courtesy of Jamie xx. ranges impressively in style from the spare photos by mixing a big-hearted, slow-tempo saccharine guitar and synth loops on "Artists' productions were classified as IDM and dubstep, minimal house genre. His dynamism and There are moments—quite a few of them— ambiance of "Equilibrium" to straight acid house cocktail stirred with vintage techno to Valley" seem written solely for a car has been expanding his sound effortlessly since enthusiasm will be sorely missed, as Love = on We're New Here that are gaspingly pretty and passages throughout the album version of "Yeah," transport even the coldest hearts to warmer commercial, while "K Is for Kelson" relies on a the release of his 2009 debut full-length, Love Is a Evolution will be his final album, and will also deep, but as a companion piece to the and Kurtel definitely gives her tracks enough room climes and good times. bevy of cheeseball hooks. "Take Your Shirt Off" Liability, and nowhere is this sonic widening mark the shutdown of his Tuning Spork and original, there's an unsettling weirdness: what to breathe, but some of these tracks are a bit Where other DJs tapped by the series used might as well be a Red Hot Chili Peppers more evident than on this latest effort. Contexterrior imprints. (It is worth noting, keeps that first record together is Heron, lacking in melody and vitality, pleasant in their mixes to aggressively flaunt their eclectic tribute. "Excuses" can't decide whether it In more ways than one, Lustman seems to be however, that Haze is not halting his musical particularly his cool, seen-it-all, out-of-time execution but less exhilarating than seems to have tastes, this quartet stays lazer-focused on their should be a mysterious opener, a somber following in the footsteps of Cornwall's most output entirely, just shifting his priorities persona and not so much style or composition, been intended. Although it drags in parts, Music own nascent scene, drawing exclusively from ballad, or a noisy beat suite. With more misses famous son, Richard D. James; perhaps one of towards smaller releases as well as humanitarian but xx's work loses that in favor of binding the Watching Over Me is, at the very least, an intriguing their own productions and those of close than hits on Bibio's new LP, it's apparent that the only differences is that Lustman eschews causes). record with the sound of the present. It certainly introduction with some stellar moments worthy of collaborators and labelmates. So while Double his influences are best served separately rather James' tactic of using many aural aliases. For The good news is that his swan song is an fits, but you just might miss what's been repeat rotation. For a DJ so early in her career, it's Hill's "Everytime I Go" leans on throttled bluesy than blended together. Patric Fallon 11-song collection that sonically embodies lost. Michael Byrne an admirable debut, and a sure sign of interesting vocals for a hook and Greg Paulus' "Suchashame" everything that Haze does well—from the sounds to come from her direction. Michael Harkin employs a wandering muted trumpet, they're Discodeine shimmering synths and disembodied voices of Deniz Kurtel linked in the mix by the same spacious Discodeine the title track to the Chicago house-flavored Music Watching Over Me Siriusmo production, polished keys, and relaxed Dirty groove of "The Darkest Disco" (a collaboration Crosstown Rebels Mosaik percussion. Transitional tracks are aggressively The Parisian duo of Pentile and edit maven with occasional partner-in-crime Ricardo Now that she's established herself as a successful Monkeytown shorn down into interludes, letting the more Pilooski admirably pump fresh blood into Villalobos), Love = Evolution delivers what could visual artist, employing LEDs and mirrors in her The cover photo for Berlin producer Moritz surefire dance-starters like Locussolus' modern mutant disco on their debut album as be a perfect record. The wonky dubstep of "The interactive installations, Deniz Kurtel is putting in Friedrich's album Mosaik depicts a scene that disco-house number, "Next To You," work through Discodeine. "We dance to organized noise," Light," featuring Paul St. Hilaire, plays nicely off her bid as a legitimate producer with this debut looks like a drug-addicted teenager's messy their paces in full. sings Pulp's Jarvis Cocker, keenly, on lead of the lushly dark sound of "I'm full-length album. She's released a few singles bedroom. Picture a pile of junk littered with toy But close links can lead to group-think: The single, "Synchronize." Backing Cocker's claim is Riding High," and the plaintive tech-house of "I over the last couple of years via Wolf+ Lamb and figures, a Casio keyboard taped to a shotgun album rarely strays from the pillowy tempos that a nimble, Moroder-disco melodrama of Wait for You" (featuring vocalist Laila Tov) Crosstown Rebels, including "The L Word" and handle, white Mickey Mouse gloves, glue, balloons, made this double pair's name at their infamous pulsating synth riffs and orchestral flourishes. contrasts nicely against the album closer, a "Yeah" (both of which appear here, the latter in candles, and cables. The image is an apt metaphor Marcy Hotel party nights. This is absolutely well This is ripe, modern disco that's commercial subtly pulsing number which echoes The Aztec altered form), and Music Watching Over Me is for Siriusmo's manic energy and playful and good if you're ready to drop into a lush house enough to lure suburbanites into Target and Mystic releases from Underground Resistance. mostly in step with her previous material, albeit ideas. Mosaik bursts with dramatic mood shifts embrace for a few hours, but it's the offhanded skeezy enough to entertain smack addicts (as As a listener, one can only marvel at in a format that allows her lean, tech-house and youthful sturm und drang manifest as clubby flashes of Soul Clap's energetic R&B edits, Wolf + seen in the tune's music video). and appreciate Haze's dedication to approaching aesthetic to unfold in a more spacious form over techno, glitchy hip-hop, and whomping dubstep Lamb's deeper Miami bass influence, or the pure But oddly enough, "Synchronize" comes sound from as many different angles as possible, 70-plus minutes. It begins somewhat sluggishly tracks. Taken as a whole, the album sounds like a weirdness of the Auto-off­­-Tuned vocals on "Lonely across as a coldly calculated attempt at pop as Love = Evolution is most certainly one of the with "Makyaj" and the less-than-compelling "My house-party mixtape, as its multiple styles and C" that provide the tart contrast required for a fame on this album, as the duo mainly indulges high notes in Haze's storied tenure as a producer. Ass," but takes off with the buoyant "Best Of" and genres are all crammed into a 57-minute memorable mix. Rob Geary in synth-disco experiments. Unfortunately, a Let's hope that he continues to follow his own "The L Word," the best and most lively track here, presentation. But it's not all an ADD mess, as few disposable misfires sap the album's path on future releases. Thomas Rees which pairs a couple of infectious synth loops Friedrich's execution is sharp and challenging; the and an inspired guest appearance by vocalist album is a rollercoaster ride where you can't tell

66 67 R E V I E W S

Bubblin' Guest Reviews: Rick Wilhite Salva Los Angeles, CA Techno holds in the top spot in Detroit's Jovonn Moody South Afric an hou se producer Bodycode ( a.k.a. Al an A brahams) fabled dance-music history, but Rick Wilhite "A Definition of a Track" "Freeki Muthaf cker on five books th at influencedTwenty-nine-year-old Immune. Paul Salva has spent most of his has been holding down the house end of Late Night Audio (All I Need Is U)" life bouncing around the US, as he grew up in Chicago the equation for more than two decades. JoVonn has done it again. He's giving KDJ worshipping house (both classic and ghetto) and later moved Previously the owner of the Motor City's us the true sound of late-night house Once again, Moodymann has grabbed to Miami, where he dug into bass and electro and fell in love storied Vibes New and Rare Music record music on his new Revival EP. Just like our spirit and soul. This 12" also shop, Wilhite also has an extensive resume features remixes by two of electronic with the 808. After more than a decade of DJing, producing, always, the first song—the original as a party promoter, DJ, and producer. Often version of "A Definition of a Track"—is music's great producers: and throwing parties, he eventually settled in San Francisco, referred to as The Godson, in the mid-'90s real right off the top. This is going into and Egyptian Lover. Egyptian Lover where he founded the Frite Nite label and rubbed elbows Wilhite first released a few records under my rotation right now. takes you back to the '80s with his with like-minded artists such as Lazer Sword. Now, on the his own name. During that same era, he also authentic 808 style, and Juan amazes helped launch the 3 Chairs project with heels of releasing his debut full-length, Complex Housing, Andres us with his mid-'80s classic touch. Theo Parrish, Kenny Dixon Jr., and Malik Title TBA Salva has gone and moved again, heading south to the wilds Pittman. Following the closure of his store, Mahogani of Los Angeles. Southern California isn't exactly lacking in Wilhite has increased his production output, Andres is coming again. He's a raw compiling last year's Vibes New and Rare "Race Babbling (Rondenion Edit)" forward-thinking beatmakers, but there's little chance of Salva Detroit talent who is known for his white getting lost in the shuffle. Apart from his own music, he's Music compilation for Rush Hour, and this production skills. This full, four-track month he'll be releasing his debut full-length "Race Babbling" is dope and sick! release will leave you mesmerized and also launched a collaborative project with Lando Kal, begun album, Analog Aquarium, via Still Music. We More than that, it's a song for whoever stunned. Although Andres is viewed caught up with Wilhite, fresh off the plane is aware. This was given to me directly producing tracks for leftfield MC Zackey Force Funk, and been as a hip-hop producer, his talent for from a DJ tour in Japan, and asked him what in Japan by Rondenion. Much love tapped to remix Beans and Rainbow Arabia. making house music way exceeds his tunes have been perking up his veteran ears. and blessings from The Godson. Keep soundcloud.com/salva reputation. myspace.com/rickthegodson Japan alive.

The Carpark Family of Labels Cloud Nothings Cloud Nothings Young Magic You With Air b/w Sparkly Underneath The Pine www.carparkrecords.com LP/CD/digital Seven-inch/digital LP/CD/digital www.paw-tracks.com Out now on Carpark Out now on Carpark Out now on Carpark www.acuterecords.com

Banjo or Freakout Damu Phaseone Submerse London, UK Manchester, UK St. Louis, MO Chesire, UK Italian-born Alessio Natalizia Another entry in the long line of What happens when shoegaze Rob Orme's melancholy has been playing music since British youngsters who have been collides with early-'90s jungle, productions often sound his youth, but it was only after producing since their teenage footwork, Chicago rap, and a love something like Play-era Moby moving to London—not to years, Sam Schorb's experiments for Outkast and the greater Dungeon making 2-step. That might sound mention countless days spent with songwriting actually started Family collective? Apparently, like a dubious proposition, but it on his girlfriend's laptop while on piano and guitar. But the Phaseone happens. Twenty-six- really works—check last year's waiting for her to get home from 21-year-old beatsmith eventually year-old Andrew Jernigan got his standout "Hold It Down" single work—that he truly found his made the switch to his laptop, start producing IDM and rap beats on Deadboy's Well Rounded Coming Soon Adventure Lesser Known Panda Bear Tomboy Ear Pwr Ear Pwr voice. Natalizia—who is also where he first started banging for various MCs, but eventually label for proof. Nevertheless, Dent May, Deakin, Prince Rama, LP/CD/digital LP/CD/digital LP/CD/digital one half of Kompakt-signed duo out and hip-hop tunes shifted to more blissed-out musical the 23-year-old beatmaker—who Young Magic, Light Pollution, Out March on Carpark Out April on Paw Tracks Out May on Carpark Walls—effectively combines the before finding his groove in the pastures. Last year's two-song entry cites both videogames and J-Pop Tickley Feather sensibilities of an old-school world of house. These days, he's for Lefse's Way Slow series turned as early influences—has been singer- with a desire folding in grime and a heavy dose heads, and now Jernigan is at work expanding his sonic palette as of to explore washed-out melodic of synths, which gives his music on a proper Phaseone album, which late, dabbling in harder, bassline- soundscapes and lo-fi bedroom a particularly melodic quality. should at some point see the light influenced sounds. 2011 promises beats. After releasing a string of Last month he dropped an EP on of day through the Williams Street another Well Rounded EP, singles singles and compiling hundreds Silverback, and more music is on label. He's also been bitten by the on new labels from Doorly and of demos, Banjo or Freakout is the way in 2011 via the esteemed relocation bug, as this month he's Kanji Kinetic, and a slew of other finally ready to release his self- Local Action and Keysound labels. moving from his hometown to the releases. You can also find him titled debut album, which comes bright lights of New York City. behind the decks at Sub.FM, where out this month via Memphis he hosts a weekly radio program. Industries.

banjoorfreakout.blogspot.com soundcloud.com/damu phaseonenofun.tumblr.com soundcloud.com/submerse

68 M a c h i nes:

In the studio WORDS: Thomas Rees PHOTOS: florian de bruN

Six years after We Are Monster, Rajko Müller returns to the fray. Isolée: In The Studio

Rajko Müller, known to the world as pioneering Is there any piece of gear that you could microhouse producer Isolée, might not be the most single out as being more important than prolific of electronic music's giants. His last full- all the others? length was 2005's We Are Monster, and his last major There isn't one piece of equipment that I'm totally single came out in 2009, but his sound is so rich dependent on. Sometimes you get lost in all the gear, and so much his own that any wait between releases because really, it's a passion. I know a lot of people is certain to be worth it. Well Spent Youth, his third who hardly have any gear and just use the computer, full-length, out now on DJ Koze's Pampa Records, and I think in my case, I would be able to make my continues along the path that Müller is known for, as music without a lot of the gear I have. I could just use it brims with lush melodies and dense aural textures the plug-ins and the computer, and it might sound as while maintaining an intense attention to the smallest good as what I currently do, or... maybe even better, sonic gestures. We caught Müller in his home in I don't know [laughs]. But I have a passion for gear. Berlin to discuss the record's process. Like, if I have an old analog delay, which is very limited in its possibilities, sometimes it's more interesting and fun to use this on recordings, because then I know it's XLR8R: What are some of the more a little history of equipment rather than just a perfect important pieces of equipment in your emulator or whatever. I'm not very into the debate studio at the moment? between analog versus digital, but I feel like I want to Rajko Müller: It's mostly just a couple of , keep the touch of the original piece of gear, that its as I don't use much software. One of my more recent character should stay intact. acquisitions is the Pro One by Sequential Circuits. I also have been using my Yamaha VSS-30 and my Can you describe the process of coming to Roland JX-3P quite a bit. I have a few more, but what the acidy yet lush sound of "Hold On"? I really like to use are some older effects like spring For "Hold On" and most tracks, it's not that easy reverbs and analog delays. Definitely, the most to trace back how [it] comes to a certain result, important aspect of the studio is the computer. I especially when you don't have a clear aim when you record on Ableton right now, and consider it a tool start to work on something. There are a lot of things like any other piece of gear, where you have lots of that happen intuitively—I work on sequences, cut simple solutions to make creating a track as easy and them, filter them, add beats and other sequences. quick as possible. Speakers are obviously important, Sometimes I displace them again and so on, and all and some of the most difficult studio components to of a sudden I come to something that makes sense find and set up properly. Right now, I have two sets: to me. my smaller system are Klein & Hummel PAS 100s, and my bigger system is from this German company There seems to be a lighter sound on called G.J. Acoustics. Also, I use a Soundcraft 6000 the newer record, both tonally and mixer with 24 channels, which is a good size to have emotionally, as compared to your other in your home and still feel like you have a proper records, which always sounded as if mixing set-up. they came from a more icy clime. Is that something that you intended, or is that It's been six years since your last full- just what listeners are hearing? length. How has composing and producing That is difficult to say, because actually, I don't know tracks changed for you since then? if I really thought about those issues while creating I think that the major changes happened before We the record. But if that's what listeners are hearing, Are Monster, with all the possibilities of the computer then that's what is there. That's kind of my opinion, with unlimited memory capabilities and so on. Now, you know—that what the listener hears in the music is you can record and record, and you have the tension what is there. It's not me who is going to define it. It's that you might never finish something. Before, I very interesting, this impression that you and others would get lost and do more and more versions of have about the new record, and all I can say is that I'm things—just let versions pile up. What I was trying okay with it. to do with Well Spent Youth was come more quickly to a finished track, and try to avoid getting lost in possibilities and options. Well Spent Youth is out now on Pampa. isolee.de

71 M a c h i nes: A RTIST TIPS

SEEFEEL'S Studio approach

Ever since their genesis in the '90s, Approach every song differently have two or more strings more tightly strung. replaced by simpler units for the stage. We UK outfit Seefeel has straddled I try not to really approach recording with a set For example, I will tune the G string to a B-flat also use backing tracks live to play mainly the line between electronic and method. "Aug30," for example, was a jam that because I like the tone this can add. percussion parts. Of course, it would be nice ambient rock music so craftily Shige and I did, and what you hear is pretty to have a percussionist to recreate those parts, that they've more or less erased much as it happened—bar a few edits, as the Merge live instruments with but this is where knowing what elements don't it altogether. Whether crafting track was much longer. On the other hand, electronic elements when it feels need as much human touch as others comes Krauty, atmospheric shoegaze, or "Faults" began as a programmed rhythm and right in handy, and that takes time, and good ears, remixing their peers, the quartet— it gradually progressed by adding vocals to a I think it's always important to not think of to perfect. But for the most part, I think live, whose founding members Mark very different guitar part. Then Shige added things as electronic or rock, because they are we use pretty much what we use in the studio, Clifford and Sarah Peacock have bass, which then changed as a new guitar just elements of the whole. So I would never certainly as far as the go. since adopted bassist Shigeru part was added. It was very much a studio add an electronic part for the sake of it or to "Shige" Ishihara (a.k.a. DJ Scotch track passing back and forth between us and make it some kind of hybrid. I only use what Use effects to round out your sound Egg) and former Boredoms being built up and stripped back over a few I think works with a particular track. I have Despite it being maybe the least noticed by drummer Iida Kazuhisa— weeks. So the process varies, but all guitars never thought, "Too many real rock sounds in most people's ears, compressors were the continues to make music that is and vocals are processed before they go onto this track—better add an electronic part." It's most used piece of outboard gear on the new simultaneously challenging and hard disk, and very few plug-ins or computer just whatever works for each track. album. Practically every part is compressed to breathtaking, particularly on their processes are used [prior to editing]. some extent, and some vocal and guitar parts recently released, self-titled Warp Manage your live set-up and studio are heavily gated. I find it much easier to mix full-length. Here Clifford tells us Experiment with guitars, strings, set-up when each part sits in its own space. Likewise, about some of the considerations and tuning The live set-up can be more restrictive than EQ is also a very important tool! that went into making the LP, and I tend to use Strat-like guitars for the most part the studio, which forces you to be creative—in Seefeel is out now on Warp. what you might consider for your because they give lighter sounds, which suits the sense that we might, for example, use myspace.com/seefeelmyspace own productions. Ken Taylor the effects I like to use. Likewise, I use a very analog reverbs or delays in the studio which light-gauge string. Often, I tune the guitar so I are too cumbersome to tour with, so they're

72 M a c h i nes

03 /'11 Components iZotope Stutter Edit editing software MSRP: $249; izotope.com

For those who enjoy chopping, slicing, and generally mangling their beats to no end, Stutter Edit may just be the new Cuisinart. Perhaps most importantly, it provides hands-on control: While software like Ableton's Beat Repeat, Audio Damage's Replicant, and SmartElectronix's free Livecut plug-in (among others) all allow for Moog Slim Phatty various forms of stuttery sonic chaos, Stutter Edit is built to actually be played by MSRP: $849; moogmusic.com the user. It can perform repeats, bit-reduction, buffer and pitch effects, and more, all of which are automatically mapped to the keys of your MIDI controller, and all of which can be manually combined, modulated, and otherwise custom-configured. There are even generative patches, which can add layers of synthesized audio to the tracks under its dominion. This is an excellent tool for stage or studio. ES

Akai Synthstation49 iPad audio controller MSRP: $199; akaipro.com

The Slim Phatty, presumably named for its keyboard-less, compact, Denon DN-MC6000 mixer two-voice design, and highly tweakable room-filling sonics, is the latest and MIDI controller instrument to join Moog's pack of classic machines. Essentially, the Slim MSRP: $949; denondj.com Phatty is the sound engine of a Little Phatty (the unit's keyboard-equipped The march of the digital DJ solutions older brother), in a wedge-like module that is both rackmountable or continues. Denon's DN MC-6000 tabletop. Classic wood side panels are available separately for that timeless, goes for the all-in-one approach, Giorgio Moroder-approved look. And like all of the newer Moog synths, the built for the club with its steel chassis backlighting on the tactile buttons and bright LED markers for the dials are and rackmountability. It's designed not only clear and useful, but darn rave-tastic with the studio lights down. to work with Traktor and Virtual DJ, Like its older brother, the Slim Phatty includes a wealth of up-to-date and while it's not as tightly integrated Arturia Spark beat with either software as NI's S4 is features, including MIDI-over-USB with high-resolution messaging (you production center with Traktor, it's a somewhat more MSRP: $599; arturia.com can easily record your movements as automation in your DAW and run versatile unit. The mixer can take While the iPad has many of us daydreaming about the that MIDI back through the unit, not only saving the performance but also external sources (up to four, line/ Priced to compete with Native Instrument's possibilities that a multi-touch, WiFi-enabled tablet making adjustments in the key editor for the perfect pass). Not forgetting its phono) and mix them without a Maschine, the Arturia Spark is also a hybrid presents for music production and performance, old-school origins, the Slim Phatty provides a 100% analog signal path and computer connected. It's festooned software/hardware package designed we've yet to see much that gets us drooling. The with a slew of buttons and knobs particularly with beat production in mind. In SynthStation49 isn't quite the revolution we're keeps the classic voltage-control method of speaking to other machines well (perhaps too many, in fact), including the sound department, Arturia partners its considerable synthesis muscles with third parties imagining, but it's still a nice little tool that does its intact. Using the CV feature, you can really go modular, hooking up all sorts eight hot-cue/sampler buttons, and like Sonic Reality and Uberschall to compile part to bridge the gap between iPad fantasy and of vintage and modern analog boxes to create your own BBC Radiophonic a host of outputs like balanced XLR, an impressive synthesized and sample-based reality. The MPC pads and transport buttons are along with unbalanced and booth Workshop. And, as an added bonus, while most analog synths are not instrument library. All told, Spark features no as expected, and the angle-adjustable iPad dock is outputs. It can handle audio and/or known for their mobility, this one is svelte enough to fit in your backpack, less than 480 instruments and 30 acoustic and cool. But a couple of features did actually get our allowing the instrument to shine onstage as well. video with its switchable crossfader, electronic kits. Spark is housed in a slick white- and has a number of effects built and-grey aluminium case with a hefty bunch of hearts beating a couple ticks faster. Not only does While you can coax the sort of Moog-style squelch and punishing sub- in as well. Those looking for an knobs, pads, and buttons. Controller functions the SynthStation49 sport a stereo set of quarter-inch sonics that will have you watching your bass bins (see the "O.L." button adaptable, high-end controller won't include eight velocity-sensitive MPC-style pads, jacks suitable for routing the output to a recording to kick in an oomph of overload drive), a mere sweep of a filter and tweak be disappointed with this reasonably an X/Y pad, a 16-track mixer, and something device or PA mixer, but it also allows players to record portable, club-ready set-up. Evan like 30 dedicated and assignable knobs. Direct all MIDI information (and audio) directly to the iPad of dial on this synth can conjure up an equally impactful bevy of cosmic, access to shuffle and shift modes and a 16- Shamoon (cool, especially if you do a lot of improvisatory knob- ambient, and Balearic delights. Another huge plus is the ability to send key, 64-step sequencer all add up to a pretty twiddling), and it's fully CoreMIDI compliant, which external audio through the Slim Phatty via a rear input for some wicked impressive piece of gear and one more contender means it is compatible with any other CoreMIDI iPad filtering, effectively giving you Mooger Fooger pedal-style processing in the in what could someday become an MPC-killing genre. Roger Thomasson app right out of the box. RT same box. It all adds up to a cost-effective and highly recommended way of getting the legendary Moog sound into a studio of any size. Ryan Edwards

74 75 M a c h i nes: C O M P O N ENTS disappears Guider krank151 “ Guider is an intriguing, viscerally stirring study in contemporary post-punk that holds attention like a fox in a headlight beam.” Drowned in Sound Marvel vs. Capcom 3 Okamiden Capcom; DS Capcom; X360/PS3 tim hecker ravedeath, 1972 krank154 “ Montreal soundscraper tim hecker is one of the great ambient artists of the last decade. We can’t think of another producer in the field who’s had such an unstoppable winning streak over the past ten years.” Altered Zones

Belong Common era krank155 “ Nerve-wracking, romantic, intense, and hardly there at all.” Pitchfork

implodes blaCk earth krank156 “i mplodes is all kinds of big guitar damage: shoegaze fuzz blasts, sparkly drone, slicks of tuneful sludge, distortion so thick it obscures the keyboards, the vocals, and even the drums.” Chicago Reader

2006's Okami was as stirringly breathtaking as it While the rest of the world waits for Captain America, Thor, was criminally overlooked. So it's nothing short and Iron Man to finally get their shit together on screen, of a minor miracle that despite its forebear's poor kranky.net you, my main man, need not wait a minute longer! Marvel sales, the sequel, Okamiden, is actually seeing the vs. Capcom 3 allows not only for Earth's Mightiest Heroes light of day. Playing much like The Legend of Zelda to assemble right before your eyes, but also some X-Men, a meets calligraphy class, Okamiden puts you in the paws of the little wolf god, Chibiterasu, offspring couple of zombie enthusiasts, some robots, a busty demon of the original's divine protagonist, as you and hunter, and a dog. All told, you can mix and match a team of your human companion battle against demons three out nearly 40 far-out characters from both Marvel's and straight out of Japanese lore. Visually, the game Capcom's respective histories in a bid to overcome Galactus, looks like a sumi-e illustration come to life on a the world-devouring demigod. Epic story aside, MvC3 is, above woodblock print, and like its predecessor, you will use the Celestial Brush to draw symbols and script all, a pixel pugilist's paradise with as deep and quick a fighting that can be used as both weapons against dark system as has ever been realized, complimented by batshit- forces and tools with which you can affect the crazy backgrounds ranging from the Rainbow Bridge of Thor's game world. However, this time around, you will Asgard to the hooker-infused slums (we wish) of NYC. Online actually be doing the pen work yourself on the DS play and super moves also abound, sweetening the pot since touchscreen, making for a much more immersive experience. If you like stunning handheld visuals, the last entry 11 years ago. We've had two good Spider-Man Japanese stuff, and corporate redemption, do movies, 0.75 good Hulks, and no good Fantastic Fours since Capcom and yourself a favor and get on this then—and MvC3 licks them all. Ryan Rayhill immediately! RR

Killzone 3 Sony; PS3

If, like most American consumers, you can't get enough of that bang-zoom 3D that's sweeping the nation... and you love splattering the brains of alien invaders across the purple mountain majesty with a wave of your hand, then do we have a treat for you. Killzone 3 is one of the first games to not only support full 3D graphics (it can also be played in normal 2D), but also Sony's Move motion controller, making it one of the most immersive first-person shooters out there as you and your partner blast your way out of a bloody civil war between two political factions on an alien world after a black hole is left in their seat of power. This is, naturally, due to you blowing their dictator's brains out in the previous game. Remember? Good job, bro. Killzone 3 also offers up some new features like jet packs, exo-skeleton suits, and murderous melee attacks like neck-snapping, throat-slitting, and the timeless classic that is the eye gouge. As should be expected with any self-respecting modern-day shooter, Killzone 3 offers a robust online component so you and your yahoo friends can continue your ongoing debate over who is a bigger douche while blasting away at strangers in the comfort of your own home. RR

76 Dragon Age 2 Crysis 2 PlayStation Move Heroes EA; Xbox 360, PS3 EA; Xbox 360, PS3 Sony; PS3

With a story told in framed narrative (à You want more aliens, you say? You long If you have been a longtime la Princess Bride) and taking place over to see a visually stunning version of New PlayStation fanboy/girl, then get an entire decade filled with swords, York City in catastrophic ruins once more? out a fresh pair of jeans because the sorcery, and sexy time, Dragon Age 2 A silent, well-armed hero to quell the ones you are wearing are about to follows the adventures of a steely badass invading threat would be just what the be heavily creamed. Starring six of named Hawke (who can be male or doctor ordered, you're thinking? Well, Sony's most popular characters from female) as he/she rises from homeless to it's your lucky day. Crysis 2 takes the the worlds of Ratchet, Jak, and Sly hero. Collecting a small army of warlocks limit-pushing beauty of the PC original Cooper, PlayStation Move Heroes and warriors to aid your travels, this and somehow makes the sequel look even thrusts our heroes and their sidekicks action RPG features an intuitive mix of more spectacular on the home consoles into battle against some world- strategic character building with good as you take on the role of Alcatraz, a gobbling maleficence or another. old-fashioned button mashing as you lay super-soldier with an even more super suit But the real story here is that this waste to the legions of orcs, giant spiders, that allows you to more or less become is the first major adventure game and sleazy wizards that stand in the way of Superman as you battle an alien horde in made exclusively for Sony's waggly your greatness. However, your personality the burnt-out husk of the Big Apple. In new controller, the Move. As such, will be just as important as your physical addition to all manner of wild weapons, much of the in-game action focuses prowess, as all of your dealings will affect the aforementioned suit allows for many on you swinging, flinging, or bowling how the rest of the world treats you displays of inhuman feats, ranging from various weapons at your adversaries. and how your story plays out. If you're god-like leaps across the tattered cityscape While not the hardest core of games, charming and savvy, you may have an to nigh invisibility, making silent kills from PlayStation Move Heroes provides a easier time taking down evil—and perhaps behind that much more nasty. While this colorful, lighthearted respite from the a few pantaloons in the process. That's all may sound like standard fare for a first- onslaught of titles awash in grit, gore, right, you can totally get your dragon slain person shooter, when played in 3D, as you and general gnarlitude. RR in this game. When you boil it right down, are able to do, Crysis 2 really shows what what last year's Mass Effect 2 was to the it's made of, as buildings collapse around space-age sci-fi kids, this month's Dragon you, enemy fire grazes past your dome, Age 2 is for the Dungeons & Dragons set. and falls from high places actually give you And as a squealing teenage girl for both wicked vertigo. RR games, we could not be more chuffed. RR MARCHMARCH 16-1916-19

Yakuza 4 Sega; PS3 AUSTIN,AUSTIN, TXTX You ever hear the story about the Japanese guy who owed the Yakuza money that he couldn't pay up so they took him out to a shed in the woods, nailed his dick to the wall, set the place on fire, and then handed him a knife before they drove off? thefader.com/fortbyfiat I'm pretty sure that doesn't happen in Yakuza 4, but you can extort money from thefader.com/fortbyfiat business owners, sing karaoke, and create the number-one hostess bar in all of Tokyo! This, of course, is just the tip of the katana, as you play out an entire Japanese Watch live at music mob drama in the role of one of four characters, each with his own weapons, moves, Watch live at music and stories, in an effort to navigate the seedy criminal underworld. Several parts WWW.myspacemusic.com of Tokyo have been painstakingly recreated along with a few fictionalized versions WWW.myspacemusic.com of real spots like the red-light district. We imagine this is because the game makers didn't want to end up offending anyone and subsequently find their own birds tacked to a tree. With a soundtrack featuring big-time Japanese hip-hoppers and DJs, Yakuza 4 is ichiban for the civilly grimy. RR © 2010 Chrysler Group LLC. FIAT is a registered trademark of Fiat Group Marketing & Corporate Communication SpA, used under license by Chrysler Group LLC. Communication & Corporate SpA,Group Chrysler used under license by Marketing Group of Fiat trademark is a registered FIAT LLC. Group © 2010 Chrysler © 2010 Chrysler Group LLC. FIAT is a registered trademark of Fiat Group Marketing & Corporate Communication SpA, used under license by Chrysler Group LLC. Communication & Corporate SpA,Group Chrysler used under license by Marketing Group of Fiat trademark is a registered FIAT LLC. Group © 2010 Chrysler

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