"So if you hear a C-major chord with an equal temperament, you’ve heard it a million times before and your brain accepts it. But if you hear a chord that you’ve never heard before, you’re like, "huh." And your brain has to change shape to accept it. And once it’s changed shape, then you have changed as a person, in a tiny way. And if you have a whole combination of all these different frequencies, you’re basically reconfiguring your brain. And then you’ve changed as a person, and you can go and do something else. It’s a constant change. It could sound pretty cosmic and hippie, but that is exactly what’s going on."
Extended Aphex Twin Interview in Pitchfork
"Music is a catharsis for release, or a life force. Having faith in music is unfashionable in these days of giveaway, throwaway tracks. I’m still hooked on buying reggae 7-inches and I’m still every bit as excited about discovering some new producer who’s got a sound that makes me say “What the fuck?!” Fundamentally, music is still my life. I used to think it was a means to bury myself in the reality of everything, but increasingly I’ve realised it’s really a parallel universe for me that I’ve been constructing, because the real one is just too much. There’s a real duality to it. In a lot of ways I felt music’s fulfilled all my dreams but it’s also led to lots of other problems along the way. If I wanted an easy life or to make money it wouldn’t have been with music, so there’s the positive and negative, and the collision of the two."
FACT Interview with the Bug
"This is truly how I feel about this music. I cherish it, I nurture it, and I try and give it the same respect that I would give anything in my life that has given me so much. Because of this, maybe I take it too personally, or maybe I even see things from a perspective that is biased, but there are things happening around me within this community that I feel should be addressed if we are going to keep the integrity, atmosphere, and experience we have fought for all of these years. To clarify even further, because I’m from the US dance scene, when I say that I "fought" for this, it’s a literal statement. Over here, we have always fought against popular culture for the acceptance of this music as something legitimate; now, as it’s coming out of the underground and becoming popular, it’s slowly being formulated and sold back to audiences that might not give it the respect it deserves or even understand that this music has a real history."
DVS1 Talks to XLR8R about the current state of the dancefloor
"I was listening for the first time to stuff like Derrick May, and coming at that with a raw perspective. When you pull it apart, it’s aiming at euphoria. That idea is something that I want from music. I think we’re just all looking to lose ourselves in something, whatever that might be. That becomes increasingly more difficult as time goes on, and as a result, the means by which we do that becomes more extreme. There’s a need for a genuine ecstasy. In spite of all the fucking bullshit we’re bombarded with, people are incredibly perceptive when they allow themselves to be. There are genuine experiences out there."
Ben Frost Interview in The Fader
"I think that most music is classified by people a few degrees outside of the culture, attempting to make stylistic connections once records have been released and categorized by journalists and commercial interests. I am someone who has always been deeply involved in music at it’s point of inception, and so I don’t think it is an intuition, more just a vantage point that allows for me to see how these ideas are forming – almost all PAN releases have come as a result of seeing these things take shape, usually in a physical place. If you are involved in music at this level, conceptually and socially, then you will understand that the way PAN has formed is actually quite consistent and logical. I did not start a label to release ‘noise’ or ‘techno’, I started a label to document emergent and important scenes."
Bill Kouligas of PAN Records Interview
"I believe that the joy and the creativity that you share in your work is determined by the audience, or by the consumer. It’s somehow limited by the setting, or by the…education is too harsh a word, but perhaps the audience’s cultural setup. Within that culture, you can communicate; you can create a dialogue. And if you refuse to create a dialogue, you don’t gain anything. You don’t make yourself more sophisticated; you lose a useful form of expression."
Porter Ricks Interview in TimeOut
"There are those moments when you’re looking out of a window or staring at something, and a feeling comes across you, but before you can really get a sense of what it is, it’s gone, a moment where everything seems to make sense and your mind is clear and open. That’s what I try to capture."
Christian Löffler - Young Alaska - Ki Records
Daniel Bortz - Cosy - Suol
Château Flight - Cosmic Race - Versatile Records
Bet.e & Stef - Triste (Nicola Conte Dubstrumental) - Compost Black Label
Floating Points - King Bromeliad - Eglo
Drumtalk - Time - Huntleys & Palmers
Luv Jam - Quip22 (Prosumer Remix) - Phonica White
Yør - Ritus - Shtum
OBX - It’s All We Know (Trippin’ On Air) (Positive Science remix) - Classic Recording Company
Population One - Starting Over - Metroplex
Westbam featuring Richard Butler - You Need The Drugs (DJ Hell remix) - International Deejay Gigolos
Quenum - 5AM (Mathew Jonson Remix) - Serialism
Dave DK - Woolloomooloo - Pampa Records
Mount Kimbie - Made To Stray (Dj Koze Remix) - Warp Records
Dead Heat - The Dam (The Field Remix) - Life and Death
"When [big sound is] good, it puts you into a meditative state. Anything I say is because I’ve lived it. I’ve looked into it and tried to understand it. I think that’s what makes me fairly unique in the business, because I’ve definitely always come at it from a spiritual viewpoint. Due to my long-held belief that evolution of consciousness is vital to our continued existence as a species on this planet, I felt that I found my task in life, and determined to apply myself to the evolution of loudspeakers, with particular emphasis on enclosures."
Tony Andrews of Funktion One soundsystem Interview
"The Technics SL-1200 MK2 is unquestionably not the best turntable ever made. For great audio quality, you’ll want a belt-driven audiophile deck. And in terms of what you get for your money, it’s not even best at its own tabletop mixing game. But the decks known simply as 1200s went on to become something much more than turntables. Hook two of them up to a mixer, and you give synthesizers a run for their money as the key instrument of the 20th century."
RA Industry Standard feature on Technics SL-1200 Turntables
"The most musical thing DJs do—execute blends, either to keep the beat alive or create new sounds entirely—happens by way of a mixer. It’s the center of the booth, the thing DJs spend more time tweaking than any other part of their kit. While there’s not much argument on the standards for vinyl playback, settling on a mixer isn’t quite as easy. Over the course of the 2000s, though, a mixer by Cornwall, England-based console maker Allen & Heath called the Xone:92 began worming its way into more and more DJ booths."
RA Industry Standard feature on Allen & Heath Xone 92 Mixer
Patrick Vian_Tricentennial Drag_Staubgold
Die Form_Are you Before_Strut
Blood Music_Rare Earth Material / Infinite Process 1_Diagonal
Huerco S._Struck with Deer Lungs_Software Recordings
Austin Cesear_Cloud Hall_Public Information
Martoc_Helen Is a Hologram_Esoteric
Rainer Veil_Three Day Jag_Modern Love
KWC 92_Tai Tum Tuk_L.I.E.S. (Long Island Electrical Systems)
Donato Dozzy Plays Bee Mask_Vaporware 01_Spectrum Spools
In Aeternam Vale_Ultrabase_Minimal Wave
"It’s really a very instinctive thing - I can tell you after eight bars if I like a track or not and there’s nothing in between. Either I like it or I don’t like it. The A&R process at Kompakt was always like this. I don’t have the time to listen to all the CDs we are sent and all the links we get sent. We’ve got a pretty strong artist roster, that means all these people hand in all these albums every two years or they throw singles at me and basically we don’t need new artists. The boat is relatively full and most of the later signings were personal contacts, like people I met somewhere, people that probably had been friends for years and at some point we took the decision to start a working relationship together as well. I like to see Kompakt as a record label that can be trusted. It’s run by artists and the economic mercantile aspects are there, but it’s not our first goal to make as much money as possible out of the label. So we handle our business from an artist’s perspective, and I think that’s something that’s very attractive for other artists. There’s a very high level of trust between the people, the artists that are signed to Kompakt and us."
"My techno was always embracing lots of different influences, I never saw techno as a hermetic thing. For me it was always important and fun to try to match techno with styles that have got nothing to do with techno. It’s more fun to work like that and I don’t think it’s very audible, that influence, but just listening to that kind of music in my private life helps me to broaden my mind, I’m training my ears to different rhythms or harmonic systems, I see it as my duty to be curious about music in general in my position as A&R for the label and as a DJ. Maybe I’m overdoing it here and there - my wife is sometimes really mad at me like "stop torturing me with this… what is this? Oh, it’s old witches from the Ural region singing their songs. It’s great that you like this, but don’t torture us with your music!"
20 Years on with Kompakt and Michael Mayer
"Alcachofa feels like art that has become unmoored from the outside world. It has that unique weirdness that can only really come from going far into your own thought processes, bouncing ideas against each other over and over again, until they become something wholly new, a kind of private language. The album marked Villalobos’ emergence as a kind of auteur-genius, presenting a totally realized personal vision. Subsequent records have seen him refine and develop this vision further, but it’s still the same basic sonic vocabulary that burst into life with Alcachofa. It’s his year zero."
Look back at Alcachofa ten years on in FACT
dj screendoor - transitions
mellow tech-house sounds opening for ataxia in milwaukee 03.14
Jesse Somfay_Small Pebbled Forest (2005 Edit)_Archipel
Scott Kemp_302 (DJ W!ld Remix)_Turquoise Blue
Galcher Lustwerk_Put On_White Material
Swayzak_Form is Emptyness_Force Tracks
Evigt Mörker_Högre_Evigt Mörker
Nathan Fake_Coheed_Traum Schallplatten
Heib_Arise_Senior Solution Management
Melchior Productions_The Longing_[a:rpia:r]
DJ W!ld_Rendez-vous Love_20:20 Vision
Jesper Dahlbäck_What Is The Time, Mr. Templar?_P&D
"There is definitely a sense today that electronic music is somehow superior if it’s record[ed] live in a single take, laid down on tape or whatever, and then that’s it—done. For some, that’s clearly the best way to reflect who they are, but I don’t think we should forget about the technology we now have at our disposal. Look at what computers can do now: They allow you to edit, to refine, to manipulate like we never could before. And without this phase of the process, I definitely couldn’t make the music I make."
Powell Interview in Vice
"How music is presented is important to me. Making and putting out a record means a lot to me, and we live at a time when there’s such a wealth of content and output that it feels like culture sort of eats itself. It’s extraordinary, you can’t keep up. It’s important, just for my own sense of worth, in that huge, huge morass of content, to put things out which reflect some kind of identity. I think that’s very important, otherwise it’s just another disposable club thing. Which I guess is what it is anyway."
Call Super Interview in XLR8R
“I mean all dance music is disposable. I’ll slave away for a year on a record, and then it doesn’t really matter six months down the line – that razor is blunt now. But you want to think, ‘Please God, can I look back at this in 30 years and not feel like my life was in vain?’ I think you’ve got to aspire to something more than loop techno. Even though I love lots of that stuff.”
Call Super Interview on RBMA