Night Visitor

electronic musings


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A special throwback house set for my friend’s dj mix series.

Herbert – Back Back Back Back – Accidental [2006]
Tony Allen – Ole (A Remix by Moritz von Oswald) – Honest Jon’s Records [2007]
Black Sabbath – Planet Caravan (Poolside Rework) – Poolside Music, LLC [2013]
Shoes – Warp Afrobeat Remix Project 2 – Shoes [2011]
Richard From Milwaukee – Natural Flavor – Jolly Jams [2014]
Richard Davis – In the Air (Further’s Acid Relapse Edit) – Punkt Music [2003]
Steve Bug – A Night Like This – Poker Flat Recordings [2001]
Freaks present Instrument – Freaky Dance Intro – Music For Freaks [2000]
Freaks present Instrument – Freaky Dance – Music For Freaks [2000]
Felipe Venegas y Francisco Allendes – Llovizna – Cadenza [2009]
Efdemin – Sun – Naif [2009]
Rising Sun – Message (Dubplate Mix) – Dubplate Versions [2014]
Scott Grooves – Riddum – From the Studio of Scott Grooves [2005]
Hawke – Orchestral (Recorded live in LA) – Fiji Recordings [2000]
Toro – Phantom Drive – My Best Friend [2004]
Chateau Flight – Les Antipodes (Joakim Remix) – Versatile Records [2004]
Jamie Lloyd – What We Have (… is a Zwicker Remix) – Future Classic [2007]
Rebecca Pidgeon – Learn to Pray (Charles Webster Dub) – Miso [2006]
Cevin Fisher – Music Saved My Life (Freezy Jam Mix) – Sm:)e Communications [1999]
Cabin Fever Trax – Dove – RKDS [2012]
Baeka – Mom’s House – Morris Audio Citysport Edition [2004]
Symbols & Instruments – Mood (Optimystic Mix) – KMS Records [1989]
Mateo & Matos – Another Dimension – Large [1998]
Herbert – Back Back Back Back – Accidental [2006]


"Besides the technical advantages of the medium, our will to work with vinyl is mostly driven by the idea that we want to make a ‘complete’ object of each of our productions and that vinyl, for now, is the most adequate format to do so. Vinyl has its advantages, but it definitely has its weak points too. […] It’s very hard to break even. Downloads are a welcome additional income but not a reliable source for maintaining a label. There’s definitely something to be done about the sky-rocketing demand/insufficient supply problem the industry is facing. It can postpone projects by several months and no-one likes that. ‘Keeping the industry sustainable’ is a subject way too vast to tackle here but at our level we’re trying to make every vinyl part of a precious and valuable object."

"It’s the format we treasure the most. All my own personal money goes on vinyl. It’s my world, so it was always gonna be front and centre. When you spend a life buying vinyl there aren’t really too many alternatives when it comes to putting out your own music. All the same qualities that people espouse re: vinyl are true for us too. The physical thing is the most commonly talked about I guess, but it’s true: there’s a completeness to putting music out on vinyl that you just don’t get with digital. This is a product that we believe is worth something. I think that’s important for our artists too. It costs money to put things out on vinyl, such that you rarely really make much from it. But that’s important for the artists too. It’s us saying that we believe in the music, that it deserves investment, love, effort. When you put something on wax it immediately earns a place in the world — in shop racks, in personal collections, on turntables in clubs. It exists. We want our music to take its place in the world and not just exist in the ether."
Emerging Vinyl Record Labels in 2014 Interviews

"After a few years of listening to so many demos, you oversaturate yourself and you realize a lot of producers out there are over-reiterating the same ideas. I find there is a balance between listening to new and interesting things, but also being in the right frame of mind. Things can skew your perspective. If I’m listening to hundreds of demos where people try to sound like Boddika or something, that gets boring but at the same time it doesn’t necessarily mean that you should abandon some of those ideas yourself. I always used to do this thing where I’d be reacting like, "Right, where is my space?" And sometimes that’s not the best way to approach things. The exciting thing is when younger kids come through in the scene and they just don’t think about these things. They start pulling in influences and sounds that you may have considered cheesy, because they’re sitting in a certain context in your own mind. But if you don’t have those walls, then what comes out can be a lot more natural. It’s a hard balance to achieve."
Pinch Interview on RA

"I feel like I have a duty to do things with sound because it’s such an incredible opportunity to be able to make music out of a fruit salad, or Egypt or a Tory Party conference, or a women’s refuge that The Coalition have shut down. Any story that you want to tell, you can record sounds from and make music. I feel like I have a duty to take that as far as I can imagine it going. The world is a messed up place and people are struggling to make sense of it. Capitalism is destroying so many of the things that we need just to survive. Music is a form of escape, all I can do is make it and it’s up to other people how they respond to it."
Matthew Herbert Interview



dj screendoor - the in sound

Sex Worker - Rhythm of the Night - Not Not Fun
Jimi Goodwin - Live Like a River (Beyond the Wizards Sleeve Re-Animation) - Heavenly Recordings
Jee Day - Sum of Love - Beats in Space
Bell Towers - Territory - Public Possession
Shift Work - Patience (JD Twitch Edit) - Optimo Trax
Mark Stewart featuring Factory Floor - Sterotype (Mark Stewart Dub) - Future Noise Music
Gold Panda - An Iceberg Hurled Northward Through Clouds (Peaking Lights Vocal Remix) - Studio !K7
Battles - Atlas (DJ Koze Remix) - Warp
Featureless Ghost - Sugarcoated (Scott Fraser’s Baudot Code Rewire) - CGI Records
DJ Silversurfer - Dirty Dishes - Crosstown Rebels
Michael Horse - Sloe A1 - Unknown
Tiago - Sem Titulo - Interzona
Aphex Twin - XMAS EVET10 (Thanaton 3 mix) - Warp
Autre Ne Veut - Drama Cum Drama - Olde English Spelling Bee


dj screendoor - the way out

Pheek - Multiple Paths - Only Material Matters
Zsou v Velvet Season & the Hearts of Gold - WiLdHoNeYz - Lucky Hole
Kettenkarussell - Konstant Sleep - Giegling
Ygrok - 002A - Ygrok
Losoul - Time and Space - Hypercolour
Coyote - Passing Memories - Rothmans
Real Dubz - Relaxin’ at the Flip - Love Fever
Pablo Mateo - Free - Lack Records
Jackmate - Sunbeams - Treat Your DJ Right


"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

More Aphex in Rolling Stone

"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



another summer mix recorded in the same session, the b side session goes deeper, a bit weirder, freestyle and grittier 


Fur - Pulp - Unthank
NGLY - I Don’t Have a Soul - L.I.E.S.
Jessy Lanza - Fuck Diamond - Hyperdub
Florian Kupfer - Resistors - L.I.E.S
Humandrone - Flash Jive - Burek
Editions Haighton - Void People - Editions Haighton
Robag Wruhme Als Themroc - Mosca Via - Freude Am Tanzen
Unit 4 - Body Dub (Extended Mix) - Clone
Tambien - Sexalität - Public Possession
Black Deer - Circle Dance - Emotional Response
Gamertag - Find Your Pulse - All City
Kornél Kovács – Szikra - Studio Barnhus
Royal Crown Of Sweden - Mälaren - Proibito
William Onyeabor - Let’s Fall In Love - Luaka Bop


"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." 

Dalhouse Feature and Interview on RA



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



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