Night Visitor

electronic musings



dj screendoor - Release Party Opening Set

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
Bandshell_Perc_Liberation Technologies
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
Rhadoo_Geemac (Întoarcese)_Understand
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


Recorded live during the Milwaukee Riverwest 24 bike race. Jim Warchol on live guitar vs. DJ Screendoor on turntable sound bed, 13 hours into the 24 hour race at 6am under a bridge in downtown Milwaukee. The cops arrived at the end of the recording, but we persevered and continued on, albeit quieter…

Jim Warchol v. DJ Screendoor Riverwest 24 Set


"I think Berlin is one of the only big cities that I’ve ever been to – we call ourselves the “creative people,” and I don’t want to call other people, politicians, businesspeople, uncreative. But those people actually respect and appreciate the creative people. I don’t think New York’s that way. I don’t think London’s that way. But I think that’s very, very real and strong here. All Berliners understand that artistic ability and creativity are a big part of what makes this city. There’s more of an appreciation, an awareness, and a tolerance for arts and a creative way of living here than I’ve seen anywhere else."
Ryan Elliot in a techno roundtable about the Berlin Techno Community

"We’re currently experiencing a total mainstreaming of dance music in America. […] Many of the newcomers will be drawn into the music for life, and I think it’s important that we highlight the role that the gay community played and that we educate new fans of dance music to the ideals of community, equality and diversity that were so crucial to dance music’s DNA from the beginning."
An alternate history of sexuality in club culture



dj screendoor - after work

One take, first play of newly arrived records after work jam session.
Art Crime - Release - WT Records
Ondo Fudd - Coup D’État - The Trilogy Tapes
DJ Richard - Nailed To The Floor - White Material
Gunnar Haslam - Bera Range - Argot Records
Basic Soul Unit - Soulspeak (Shed Remix) - Dolly
DJ Richard - Richardplatz (NJ Storm Drain Mix) - White Material
Jon Hopkins - Collider (Pangaea Remix) - Domino
D-Ribeiro – Down You Will Get - Midlight Records
Eomac - I Love You, I Miss You - The Trilogy Tapes


"There’s something in that sensation of stasis without repetition that gets right at the heart of a lot of what’s most interesting to me about music and records. The expansion and contraction of time that one often feels with “high minimal” music can produce a sensation of unusual freedom; you aren’t being led around by the nose and your attention is able to traverse it in a very loosely determined way. I’ve found the same qualities at work in a lot of techno, particularly in the context of a really proper set. Being out at a party and feeling the same things happening with time […] was the “eureka” moment at which I first felt like I “got” techno as a visceral, bodily thing and not just on an intellectual level. I don’t think it’s too much of a stretch to suggest that a lot of drone music is doing essentially the same formal things as certain sorts of dance music albeit on a different time scale; one is zoomed way in and the other is zoomed way out, but it’s impossible to tell which is which. That might go some distance toward explaining how well they both lend themselves to communal experience on large soundsystems."
Chris Madak of Bee Mask talks his favorite records

"Music is always the end product, but the ideas are coined beforehand. Of course you want to create an atmosphere, like everybody does. Because there is no narrative in techno, lots of people blindly couple it with spaceships, science or shit like that. It’s got absolutely no interest for me or my life. I want immediacy. I like here and now. These are the things that interest me about music. Sex, ritual, that’s what I’m into. It’s very naturalistic, I’m not doing it because of any reason, it’s a progression of who I am. In our case you can hear the authenticity in the music that we make."
Regis Interview in Quietus

"All of us affiliate ourselves, or have been involved in, noise or experimental type things. It was pretty tough doing electronic music at the time. If you had a laptop it was like, "Oh, this dude’s lame". You had to have analogue equipment, or a cassette player, or effects pedals, contact microphones. People were getting real DIY with it, which was pretty tight. We’ve just been used to a lot of weird shit, so we’re trying to take our experience and make it our own."
Galcher Lustwerk of White Material Interview in the Quietus



SubTerror Radio Soundcloud Audio Link

For this all vinyl mix, I wanted to showcase the upcoming first two releases from my new record label, Disposable Commodities aka The first two releases scheduled for release in March and April are by Minneapolis-based artist Doubt. Doubt’s premiere releases will be on DVS1’s Misstress Recordings end of February/early March. The label’s motto is “Future Past. Past Imperfect.” This mix is an attempt to capture an essence of this statement.

Label/Release Promo Video: YouTube

First Hour: DJ Shiva

01. Wyndell Long - Trip [Mona]
02. Aaron Litschke - 6 U (V1) [SecreTechno]
03. Robert Hood - One Touch (Mark Broom Edit) [M-Plant]
04. Radial - Excavated [Radial]
05. Peter Van Hoesen - Outlands [Curle]
06. Gary Beck - Paid Out (Mike Dehnert Remix) [Bek Audio]
07. #. - B2 [Horizontal Ground]
08. George Apergis vs Alex Retsis - Minthe (Lee Holman Remix) [Modular Expansion]
09. NX1 - RL1 (Jonas Kopp Interplanetary Remix) [Rising]
10. Mark Morris - Find Ur Mind [Parallel 125]
11. Andrei Morant - ??? [unreleased]
12. DJ Shiva - Bonkers [Format]
13. Luis Flores - Discipline [Blank Code]
14. Damon Vallero - Revolver [Electracom]
15. Relative Q - Runout [Broken Planet]
16. Deepchild - Rebuild [Seppuku]

Second Hour: Screendoor 

1. Doubt - Chaos Om Dream - Disposable Commodities ( 001)
2. Timoka - Inn - Holger
3. Terrence Dixon - Minimalism (Silent Servant) - Thema
4. Doubt - Foot of Feeling - Disposable Commodities ( 001)
5. Love Over Entropy - Off The Grid (Versalife Remix) - Something Happening, Somewhere
6. Tobias. - Freeze - Ostgut Ton
7. Doubt - Worse for the Wear - Disposable Commodities ( 001)
8. Pev - Aztec Chant - Livity Sound
9. Jorge Velez - Floo - Rush Hour Recordings
10. DJ Yoav B. - Wisdom Bop (Protect-U Remix) - Meakusma
11. Doubt - Crater Iunstat - Disposable Commodities ( 002)
12. Mix Mup - Copa Jams - Hinge Finger
13. Doubt - Cliffhanger - Disposable Commodities ( 001)
14. Doubt - Fact Punkd - Disposable Commodities ( 002)
15. Mr. G - Pulze (The Raw Interpreter Remix) - Warm Sounds
16. Tim Xavier & Camea - The Winners - LTD400


"I’m kind of a split the difference guy. I really admire purely experimental, purely procedural work. But that’s not me, for a number of reasons. But I’m also not like Bob Dylan, sitting there being like, this is my [heart and soul]. Some kind of smash and grab combination of those two things feels honest to me, feels closer to who I am. And if I’m honest about it then I’m pretty informal about both aspects of it."
Oneohtrixpoint Never Interview in RA

"I was fascinated by print and grain and I’d get lots of gaudy or plush, sophisticated imagery and degrade it with photocopies again and again, trying to visualize the effect of decay and erosion on material. It was pretty naive stuff,[…] so my approach to it was unrefined. […] But there is an intent and emotional ambiguity there. It’s potent. Perhaps I was leaning into that aesthetic around Clarence Park, and I’ve since tried to develop it. I think there’s something about being able to use crude material but use it with great care and commitment. You can use very cheap means but you can treat them like your life depends on it."
Clark looks back in XLR8R

"Really at the time our early, early stuff should have technically been the more embarrassing stuff because it was more limited but actually it came across much more realistic and more likeable and more dynamic as a result. I guess we just learnt that way that having access to all this gear like nowadays, it’s down to the person and how they perceive what they’re doing, and perhaps not to get too greedy and have access to everything.”
Autechre Interview in FACT