04.05.13
dj screendoor . wasted youth (direct download)
this mix is dedicated to the wasted youth…
an eulogy to the original dubstep style
all vinyl . mostly white labels. these were my secret weapons. enjoy.
04.05.13
“The new reality is that electronic sound, unlike any other sound, because it is being shaped and most importantly amplified through electricity, transcends into the realm of physics, that is, pure energy. A composition could be a combination and configuration of specific sine waves and it would still be music, yet at the same time, just pure sound. Instead of seeing it as a problem to be solved, that sound, in most traditional opinions, is not considered music, I say that we are standing at the beginning of an era where the traditional understanding of music will transform into something bigger. Sound is not a disadvantage, that one needs to cover up and camouflage by using fancy chord progressions and pretty melodies, so it would be accepted as music, but rather, sound will ultimately replace the limited language of musical notes and transform music into a physical and ultimately spiritual experience for everybody who has felt a 20 Hz sound wave running through his/her body!”
Uwe Schmidt Interview in 15 Questions />
“I wouldn’t want it [Sandwell District] to be remembered. I’d want it to be glossed over, papered over, cemented in. But if it could just emit a nasty little odour, so that people think, ‘What’s that?’ I’d be happy with that. I think we all would be.”
Regis discussing Sandwell District (RIP)
“Reports of Disco’s death was, as is said, greatly exaggerated – the survivors of the cull had been forced underground, where, arguably, its most creative era was about to unfold, with Hip Hop, House and Techno able to ferment beneath the surface. It’s ironic that it was Chicago, the same city where Disco was supposedly laid to rest, that House music was born, and Disco began to extract its revenge. But Hip Hop and Techno were also Disco’s revenge, for to limit it to House would do a disservice to the sheer breadth of Disco, which took on many forms, having originally been moulded from mainly Soul and Funk.”
Greg Wilson Tells a Disco Story
03.05.13
dj screendoor . it gets dark sometimes
legowelt (actress remix).
haxan cloak.
violetshaped (kangding ray remix).
prostitutes.
metasplice.
andy stott.
mcmxci.
cut hands.
madteo.
monolake.
pinch & shackleton.
lee gamble.
alan hurst.
fennesz (mark fell remix).
mm/km.
anthony naples.
maharishi maheshi yogi.
jah vengeance / i-sound.
28.04.13
[Speaking to parallels, if any, between house/electronic music and rock] “At their best they’re both truly transgressive and expansive forms of music. At their worst they’re both fantastic vehicles for narcissistic, self-destructive shit heads.”
Darshan of Metro Area in the Independent
“I think sound and ways of working with sound can produce the same effect of immersion in the microscopic details of your environment that LSD already does[.] LSD levels down the question of what’s got priority and what’s important versus what’s just a meaningless detail, so you get lost telescoping down into those details. Sound also lets you do that by taking a few seconds of something, extending it into a drone, stacking it with octaves above and below itself, you can take a tiny thing and extend it, extrude it into something much more extensive. That kind of fetishising, fondling relationship to texture, to the microscopic, that’s part and parcel of the psychedelic consciousness but it’s also something that audio production just lets you do. And we tend to like to get the most out of a few elements and really just dig into them.”
Matmos Interview in Factmag
“I guess that’s what the fundamental thing about DJing is for me, is that I’m excited about music and I really want to share it with people. So I’ve kind of broken it down to that really, it’s a really simple equation - I’ve heard some music, I’m really excited about it, I want to share it. And I just have to figure out how I’m going to shoehorn it into my set. Especially when the music’s kind of not-really-techno, I always try to find a way of passing it off as techno.”
Anthony Child Interview in the Quieuts
“I think club music is about more than just playing effect-driven stuff. It doesn’t have to rock, it doesn’t have to promote macho decibel loudness. I’m turned on by melancholy. When people get together, and you develop a deep, hypnotic vibe, and no one can exactly say why that is so, because it’s not as obvious as playing a functional drum roll or a rave signal. That way it’s much more magical and lasting. Ricardo [Villalobos] once remarked that he loves melancholic music, because this really makes him feel happiness. And he’s right. I don’t need happiness all night long while playing, it gets too flat. And it’s not that I play solemnly all the time. There’s the energy combined from a lot of people, there’s excess in the room. This is something this music can achieve.”
DJ Koze Interview in Factmag
“I’d actually got into kind of a rut. It’s a weird thing, if you have a bit of success and you become known for one thing, people are very reluctant to let you change. They don’t like you to change. Even if they don’t say so, you feel an instinctive pressure there to repeat yourself, and I don’t want to repeat myself. Say I’m making music for Vakant, in the back of my mind it’s saying, “It must be this and it must be that.” It’s not a creative thing, it’s very bad. So it was good for me to have time off.”
Alex Smoke Interview in LWE
22.04.13
STREAM THE MIX FROM LUKEWARM’S PODCAST HERE!
DJ Screendoor Live All Vinyl RSD-Afters Mix Tracklisting (Direct download)
DJ Koze - Track ID Anyone? (feat. Caribou) (Pampa Records)
Adil Hiani & San Proper - Les Moutons Ivres (Beverly Plains Cosmo Mix Version 13) (Cosmo Records)
FCL - The Heat (Will Azada Re-edit) (Improper Trax)
Blured - It’s Quite (Y.C.O. Records)
Levon Vincent - DJSF II (Novel Sound)
Spencer Parker - Yogoto (Rekids)
JP Chronic - Le Chant Des Sirense (Siesta Records)
Cabin Fever - If You Say So (RKDS)
Funk E - Stereotrip (Kurbits Records)
Henrik Bergqvist - Spin (Aniara Recordsings)
God Within - The Phoenix (Throw Your Guns) (Hardkiss)
Trikk - Floorwave (Vinyl Edit) (Pets Recordings)
Infinity Ink - Infinity (Claude Vonstroke Remix) (Crosstown Rebels)
« I like to keep some secrets… »
Joy Orbison - Ellipsis (Hinge Finger)
Virgo Four - It’s a Crime (Caribou Remix) (Rush Hour Recordings)
Julio Bashmore - Au Seve (Broadwalk Records)
CFCF - Cometrue (UNO)
Aphex Twin - Delphium (R&S Records / Apollo Repress)
22.04.13
“The first time I dropped the needle on a record there at full volume I was impressed by the crackle. It was almost frightening. We were pretty loud. But that’s the way it had to be. The space itself required a remorseless sound.”
History of Tresor via RBMA
“A lot of things happened in 1998…which gave us a lot of momentum, where a lot of people discovered a different side of techno and house, a less dogmatic approach probably. 1995/6 was the peak of minimalism in Cologne. When we really played nothing but concept stuff, Studio 1, Basic Channel stuff, Maurizio. We thought it was the best thing. When we started Kompakt, we were already over the hump. We started to explore ways of combining the idea of minimal dance music with different sounds, other colors.”
Michael Mayer on the Origins of Kompakt in Resident Advisor
“From the outset it was an experimental thing. That was Goldie bringing in the heritage, sound-wise, of Reinforced Records into Metalheadz. That was what was so special about the crowd. They were very attentive. Any little change to the music, they’d hear it and roar for it. It was a great listening crowd. It wasn’t about the biggest drop. It was about building a really deep soundscape.”
Bailey and others reflecting on the seminal Metalheadz Blue Note night on RBMA
“Plough your own furrow and give yourself the ultimate gift… the time to think, dream and shut off the fucking noise for a while.”
Why You Should Unplug and Log Out
05.04.13
Some ecletic selections for the BikeshareMKE Gallery Event I had the opportunity to DJ for.
18.03.13
“[Ultimately, however old you are, it is inescapable that this music is best heard over loud systems in small dark rooms at 4 AM.] To get into that state of mind, where a track can really hit you, you kind of need that: not necessarily to be high or pissed, but to have that as the absolute focus. You need a dark room and a few hundred people sharing that experience. That’s what makes dance music special. I don’t find I have that experience so much going to see a band at 9 PM. It’s about a DJ playing a few more minimal beat-driven records for 45 minutes, and then playing something completely out there—psychedelic, epic, more of a song—and just feeling a big connection to everybody in there with you. Those are the moments that everyone wants. I still have that, and I still love it: that sick feeling you have in your stomach, when you don’t know what the record is, and you have to find out. That’s what makes this culture so powerful and so addictive.”
Joe Goddard Interview in Resident Advisor
“The early stuff is a great snapshot of my life as it was then. A lot of it was quite raw, quite open, very personal. The mistakes were there but they were part of the charm. It wasn’t polished. But as a result it wasn’t really of its time, it was quite separate from it. I was absolutely certain of what I wanted to do. I think as the years have gone on, I’m less certain. I’m definitely certain of what I don’t want to do, but I’ve become a bit more unsure of what I really want, because so many more things have opened up. But that can be just as creative.”
Interview with Regis on Electronic Beats
“I grew up looking at labels of records and all the credits. Produced by so-and-so. Mixed and engineered. Producer. Co-producer. Techno doesn’t work like that, but I do recommend it. I think it adds depth to a recording. I consider myself an all-around producer, but I write tunes. If I was a singer-songwriter with an acoustic guitar, I wouldn’t be responsible for recording the album for a label. They’d put me in a studio. That’s the way I was approaching it.”
Function Interview for RBMA
“That just seemed like the vibe, in a way, or it just sums up the kind of stuff that appeals to us. I didn’t know my music was lo-fi until I read it in a description on a record, because in my mind I was using hardware and synths and I was recording it as best as I could. So it was just interesting… all of a sudden—oh, wait, I guess it is a little lo-fi.”
Steve Summers Interview in Resident Advisor
“When you’re not an engineer and you’re looking over the shoulder of a guy, that’s not different from me looking at a wall and knowing where all the perspective’s gonna fall and knowing where the outline’s gonna be and how much time I have and where I’m gonna lay things out. When graffiti writers get asked by the general public, “Where do you begin? Where do start? How do you make it that big on the wall?” that’s just down to your fucking third eye and the way you deal with perspective. For me, it’s the same thing. I was going in the studio with an engineer with my favorite music over that decade and from the decade before (which was where the melancholy came in), addressing it with some technical shit on top to cover it up.”
Goldie Interview in XLR8R
“I think it’s pretty easy for any of us who are academics in this to call the cycles. I think the dirty break-y sound is going to come back, electro stuff will come back, proper throwback ‘92 hip-hop will come back and it’s just about how people will re-appropriate it. Everybody that I’m working with now, we’re already seeing all that stuff kind of happen. People get tired, especially the producers; all the stuff that’s big and poppin’ right now was made six months or a year ago. I think the cycle is going to continue and probably faster than it ever has before. We saw the rise and fall of moombahton, dubstep, trap, post-dubstep, you know, every sub-genre that’s come and gone over the last three years. They’ve all come and gone in a period of eight to 16 months as opposed to, I guess, electroclash or 2-step lasting a year or two or more. Shit’s happening faster now.”
Salva Playing Favorites on RA
“I think all music is virtually ‘evocative of a place’ that might already be in the mind of the listener: but sometimes I also like to make use of elements that instantly put the listener in a specific place, like field recordings or ethnic sounds.”
Polysick Interview on Fact
“I decided that I would just keep the whole LP linked to that one session, that time period. Fantasies of jazz session liner notes, you know? I always liked the idea of the LP as a snapshot of the person’s vibe, not necessarily always a statement that lasts forever and ever.”
Maxmillion Dunbar Interview in Dummy
“I hope there’s no model for doing what I’m doing, because it would just be so scary to think how people have fucked up doing what I’ve done. Sometimes I just run out of money. There’s no favors. Why would I spend my money or mind on anything other than how to revive a sound that doesn’t exist in the world?”
UNO Label Profile
“As a producer, you’re like a one man band. I think it would be … quite arrogant to just presume you can do everything to the best it can possibly be [done] as a single entity. I think if you invite other people into the process, it makes for a more interesting result. It’s not always that something good comes out of it, but it’s worth the risk.”
Artists speak on the Art of Collaboration in XLR8R
“Music no longer involves a financial exchange. It’s a time exchange. The challenge is how you get people to give you more of their time.”
Ambient/Sound Artist Lawrence English of Room40 Interview on RA
15.03.13
dj.screendoor_pastoral.landscapes.and.warm.beer_dj.mix_direct.download
tracklist.
Alder.and.Elius_Terry’s.Medication_Skam
Multiplex_Caps.Lock_Toytronic
Donnacha.Costello_Dry.Retch_Mille.Plateaux
Signaldrift_Gradually_Wobblyhead
Signaldrift_Here.Come.the.Cops_Wobblyhead
Little.Nobody_Alright.Already.(Enough.Is.Enough.Mix)_Noodles Discotheque
Phoenecia_Oddjob.Discrimination.(Otto.Von.Schirach.Tre.Duece.Ave.Smash.&.Grab.Version)_Schematic
µ-Ziq_Swan.Vesta_Rephlex
µ-ziq_hasty.boom.alert_astralwerks
squarepusher_i.wish.you.could.talk_warp
m.miyagi_kappore_capitol
?Process? - Split EP - FatCat Records
Alder.and.Elius_Avatar.Blackwolf_Skam
Lali.Puna_T.Leboeg.Nin-Com-Pop-Mix_A.Number.Of.Small.Things
Die.Frucht_Lamu_Dhyana
pilote_TBD_Certificate.18
nudge/If.Then.Else_Split_Outward Music Company
TBD_Loop
Marumari_Baby.M_Carpark
07.03.13
“Music moves in such a way you can’t really talk about an artist using one set of adjectives, because that would mean you’ve listened to all of their works; that would mean you’d come to a consensus about what that artist’s work does. But the whole point of an artist is that they are who they are, and that’s separate from their body of work; their body of work is transcendent and speaks to each individual a little bit differently.”
Theo Parrish Interview in Crack Magazine
“[It seems a lot of people making electronic music are intent on looking backwards rather than forwards.] I think that could be a very good description of our society right now, not just electronic music. We are still at the beginning of the 21st century for lots of different reasons—I think we are slightly frightened about the future, so we are looking backwards. That is partly due to the fact that for a long time we were looking at the year 2000 as a kind of final frontier. The people from the ’60s, ’70s and ’80s, in cinemas, in literature, in music, everywhere—they had a vision of the future, and they thought that after 2000 everything would change. Then the year 2000 came and went, and nothing special happened, so in a sense we lost our vision of the future.”
Jean Michael Jarre Interview
“Rave music was starting to come along, so we were DJing that alongside techno and house from Detroit and Chicago. There was about a year – around ’91 – when a section of the scene really looked down on breakbeats. But we were DJing the Prodigy alongside Detroit, and we didn’t see any inconsistency with that. Amazing British breakbeat stuff started to come through in about ’92 – Soapbar records, Reinforced. People like me and Aphex were just trying to do a more Detroit techno-influenced version of that. What did they call it, ‘electronica’ I think, in the NME. But we were just trying to do a British version of techno really.”
Mike Paradinas of Planet Mu Interview in Fact
“I had the chance to watch over the shoulder of certain producers and engineers. And the funny thing is, the most respected of my engineers were totally pragmatic. They said, “No, no. Listen to the room, take the mic which is available, put it on the spots and record it.” And I realized producing is not about doing everything right in terms of using the right tool—the tool which is created for a certain thing. It’s more about choosing the right sounds. The relation between the sounds you choose is more important than the way you record the sounds.”
Mouse on Mars Interview in Resident Advisor
“I generally change my studio around completely every four or five years. I get very inspired by equipment so I’m buying and selling all the time. It also prevents you becoming stuck in a rut or having formulas and templates. It really throws you, so your music has to be reinvented. I’ve had so much equipment come through, but I’ve got a general philosophy of what I like to use. I don’t like vintage gear. I’ve had so much vintage gear and it always goes wrong. I’m always making music and I can’t afford the downtime that comes with the whole maintenance issue. I’ve been into modular synths since about 1998. I had a Doepfer and Serge system to begin with. You don’t get any presets so every sound is totally unique to you, and once you unpatch it that’s it, you’ve pretty much lost that sound.”
Kirk Degiorgio Interview in Attack
“Kraftwerk have been part of the lineage of dance culture since the late 70s – approaching it without them is impossible.”
Kraftwerk in the Guardian
