Music has always been around me. As a child, I remember I could spend hours browsing radio stations at home.

Rodriguez Jr. – Podcast Analogik – 01.2014

This is how I heard Kraftwerk, Depeche Mode or Jean Michel Jarre for the very first time – I am definitely an 80’s child.
I’d started taking piano lessons at the age of 6, and I eventually became fascinated with how one could produce sounds from outer space using electronic devices and computers. This is how it all began.
Years later, I produced my first tracks in my bedroom studio with a couple of synthesizers and an Atari computer.
Things became really serious when I realised that there was a chance I could fail at the university where I was studying Mathematics (at least I was trying to…).

At that time, I was gravitating in a network of musicians and artists in the South of France, and I was lucky enough to meet the right people. In the year 2000 I eventually got the opportunity to be signed for an album with The Youngsters – my former band – on Laurent Garnier’s imprint F-Communication, which was one of the biggest steps in my whole career.

What was one of your first musical inspirations? Did you have a group, performer or artist that was your favorite?

Jarre was the one who really changed my vision as a child with his blend of poetic electronic landscapes and melodies. I guess his influence is still very present in my music nowadays, as melodies are often at the core of my tracks. But it was also all about Kraftwerk, Tangerine Dream, Art of Noise, Depeche Mode. When dance music exploded in Europe in the 90‘s, I was the biggest fan of WARP Records: LFO, Aphex Twin, Boards of Canada… That was fucking insane.

Bittersweet is your first album? Tell us about some of the ideas and influences that went into the album and how making it differed from producing a single or a remix?

An album is a statement, since you have more space, freedom and possibilities to express yourself on a longer format. In my opinion, an album should be colourful, diverse and consistent at the same time.
On Bittersweet, I wanted to showcase a wide spectrum of influences – house music, techno, dub, pop, ambient… Before I began to record anything in the studio, I drew some kind of a storyboard on a sheet of paper, including the progression of the whole album and the different categories of sounds and textures.

Your release “Back To Back” on Mobilee. How did the project come up? And what was your approach to arranging the music?

Basically, Anja and Ralf asked me to do it! It was quite a big challenge to be in charge of it, after some nice editions and the big success of the previous one selected and mixed by Pan Pot, which included a video documentary about them. I knew I had to develop the concept and find a new way to push the label upfront. My original concept was about producing one hour of original music using loops, samples and sounds from the Mobilee in-house acts who had enough time to spend on this project – it would be like jamming all of it together. It’s been tough and challenging, as I had a lot of material to handle in a short period of time: only 4 months to produce the whole album. But in the end I am very proud of what all of us accomplished together!

What are your thoughts on the mainstreaming of the techno/minimal sound? What effect do you think this will have on the music?

Getting a wider audience shouldn’t be a shame. Some artists manage to be mainstream, while still being very consistent and inspiring: Bjork, Bowie… I mean, being ‘mainstream’ is not a shame if you manage to be honest with yourself and remember your roots. I obviously don’t talk about these DJs trowing cakes in the crowd here! But, all in all, it’s a good thing to have more people being attracted by this kind of music.

How did Laurent Garnier influence you, and what do The Youngsters mean to you?

Laurent Garnier has been a big influence since his first album ‘Shot In The Dark‘. I remember when I heard this album for the very first time – it has possibly been one of the reasons why I decided to produce this kind of music. Being involved in his label F-Communications has been a great experience.

Vinyl or CDs? What’s your preference?

I am still a vinyl fetishist and I have quite a big collection. But honestly, music is the most important, no matter which medium you use. I don’t mind playing with CDs, USB sticks or computers… That’s definitely a wrong debate.

There are a lot of trends in electronic music. What are your thoughts on some of these trends, for instance slowing down BPMs?

I’ve just listened to a live set I did in 1999 which was running at 141 BPM – that’s scary. I wouldn’t survive that today. Slowing down BPMs can have a positive influence on the groove.

What type of performance equipment and staging do you generally use, and how is it transported, set up and ultimately disassembled?

My setup is very compact, as it’s becoming more and more difficult to travel with equipment every day.
Furthermore, interacting a lot with a compact easy setup is much better than getting lost with loads of gadgets and shit.
I basically use a laptop computer running Ableton Live, a couple of controllers (Native Instruments Maschine and an iPad running TouchOSC with my own templates), plus a master keyboard which I am using more and more to play and improvise. Next year I might decide to travel with a second laptop running more synths and synchronised visuals.

What determines an individual as a live performer?

No idea! But you definitely have to enjoy playing your own music, and connect with different kind of crowds.

How did you connect with Mobilee and how would you describe your collaboration with Anja Schneider and Ralf Kollmann?

That’s an old friendship. I met Anja and Ralf more than 10 years ago when I got invited to Anja’s radio show ‘Dance Under The Blue Moon’ in Berlin. Ralf & Anja were already deeply involved on the German music scene, throwing parties and so. We have always been in touch since then. And they helped me a lot when I launched my solo project. Sometimes life brings the right people on your path. They have been awesome artistic advisers and I’m so proud to be part of Mobilee nowadays. It’s not only a label, but also a wonderful family. I am sure people could feel this unity during our several showcases.

Tell us something about RoofTop sessions in Hotel Diagonal. What’s the plan?

I guess it’s all about showcasing our music in some of our favourite arrangements: an open air rooftop, with a great sound system, amazing view, and the people we like. I love to hear my music in this kind of arrangement.

Your plans for 2014?

Basically, I am gonna keep on touring and working in the studio – I am currently recording new material for mobilee. And possibly a new album for 2015. It’s gonna be a busy year.

The post Rodriguez JR Interview appeared first on Electronic Music.

 
Perhaps the greatest milestone of Richie’s childhood came when the family moved from England to LaSalle( a suburb of Windsor), Ontario, a Canadian town just across the river from Detroit, Michigan. This close proximity to the birthplace of modern techno was to prove fateful for Richie as he got older. While still in high school, Richie fell in with a circle of friends that included fellow technology buffs as well as fans of the alternative music scene. With this new peer group, Richie first began crossing the Canadian border to visit the city of Detroit. These trips were Richie’s first major exposure to the exciting new world of techno.
 

 
In the 1980’s, Detroit was a tumultuous place. High crime rates had earned the city a bad reputation and the fast-paced rhythm of the big city was a far cry from the pace of life in LaSalle. The excitement and notoriety of Detroit proved to be very alluring to Richie and his friends and their trips across the border became more frequent. In nightclubs throughout Detroit, Richie was exposed to a wide variety of new musical influences. Styles ranging from house dance music to gritty techno to early hip-hop were all blended into an aural experience that forever changed the way Richie would feel about music and the lifestyle that surrounded it.
 

 
It was at a small, unremarkable club called Hopper’s that Richie secured his first real gig in the music business. Playing to small crowds was valuable experience for Richie and he eventually got the opportunity to book a respected DJ named Jeff Mills. This experience and a later meeting with another DJ named Derrick May convinced Richie that he wanted to become a DJ himself. By watching further DJ sets at a popular underground Detroit club called The Shelter, Richie began to hone his skills. He eventually became a regular DJ at The Shelter, opening for other DJs as he began to develop his own approach to electronic music.
 
Through a mutual friend, Richie was introduced to John Acquaviva, who had a home studio in Ontario. The two began experimenting with John’s Roland TR-909 drum machine and Richie had at last found a vehicle for creating the sounds he loved. The duo’s early recording work was not well received at different labels in Detroit. In order to get their music published, Richie and John started their own label called Plus 8. A few of their early release finally garnered some attention in England, Holland, Germany and elsewhere throughout Europe.
 

 
After touring Europe, Richie returned to the United States and began further experimentation in the studio. In the early 1990’s, Richie began recording work that would eventually become the basis for a new project called Plastikman. Richie’s recordings under the Plastikman moniker rocketed to success throughout Europe and catapulted his career forward. The minimal techno approach that Richie employed on the Plastikman recordings was, at the time, unprecedented in the underground electronic music community. This sparse and stripped-down approach would become a characteristic of Richie’s music into the future.
 

 
Although Plastikman was enjoying a great deal of success abroad, the story was not the same back in the States. Many of the original founders of the techno scene in Detroit felt that Richie had gotten an unfair break, taking opportunities and record deals away from artists that had put in more time in the underground circuit. For a period of time in the mid-to-late 1990’s, Richie was reviled in some regional American scenes because of this perceived lack of equity in success and recognition. However, this opinion did not last long as Richie’s work with Plastikman saw an increasing level of acceptance throughout the country.
 

 
Following an incident at the United States border, Richie was not allowed into the country for nearly two years. During this time in exile, he began to experiment with more eclectic, ambient influences in his music. It was at this time that Richie parted ways with this long-time partner, John Acquaviva. He then founded a new label called Minus and the structure of this new music company reflected the minimalist approach that Richie used in so much of his music. Through his work at the Minus label, Richie began to gradually distance himself from the environment he had called home for so many years.
 

 
In the early 2000s, Richie relocated to Berlin. The move was the culmination of a transformation for Richie, in his personal life as well as in his artistic career. From his new base of operations, Richie has taken a less intense approach to music production than he did in Detroit. This general relaxation has coloured his latest releases, resulting in a more spacious, thought-provoking ambient sound that is quite different from the beat-centric releases of his younger years.
 
It is not certain what the future has in store for Richie Hawtin or, for that matter, what he may have in store for the electronic music world. What is for certain is that Richie is by no means done creating and producing new work. Whether he will continue in his current vein or yet again recreate his sound and his image, only time will tell.
 

The post Life in Plastik: Richie Hawtin and the Rise of Minimal Techno appeared first on Electronic Music.

 
 
Many people know your music, but please tell us a little bit more about yourself. Who is Miro Pajic?
 
I was born and raised in Frankfurt, Germany. My dad is Serbian and my mom is German, so I’m familiar with both cultures. As a kid and teenager I was obsessed with drawing, sketching and generally very interested in visual art.
 
Music was always very important to me, and today I often remember in which year certain things happened, because of the music I was listening to at that time. After accidentally discovering techno in ’91, from ’93 on I started producing and releasing music on various labels, and under many different names. It has been my passion and profession ever since.
 

 
Do you remember the festival or the party that set your path as a musician and sealed your destiny?
 

 
There have been many events throughout the years that had a major influence on what I’m doing. The first time I entered the “Omen“ (an early 90’s club in Frankfurt with Sven Väth as a resident) was a revelation. This impression has never left me and it will always play a big part in why I do what I do. (Comparable impression when entering Berghain today.)
 
What was your favourite type of music to listen to as a kid? Who were some of your favourite bands and singers?
 

I enjoyed (and I still like) so many different types of music or artists/bands.
 
The 60’s, 70’s and 80’s will always follow me on my path. Starting with older (real) soul music, dirty Rock’N’Roll or even 80’s Pop. My dad has always listened to a lot of different music himself and I guess he was a big influence in my childhood. Without him I surely wouldn’t know and love Earth, Wind and Fire, Eddie Grant, Genesis, ZZ Top, Little Richard, The Beatles, or even Serbian classics from the 70’s or 80’s (I’m still in love with the first albums by Michael Jackson).
 
As a teenager I had my hip hop period and I started gaining huge interest towards trash and death metal (the doomy one, not the Cannibal Corpse type), which was at its peak right before the whole techno thing started for me, and before you‘d find me hanging out in local record stores.
 
How did you get your start in electronic music? Are there any artists who inspired you to start a career in music?
 
I didn’t see it coming. I was more into the “grafitti/skater/bristish hardcore rap““ thing in 1991 and I was lying to myself that “techno sucks“! My curiousity lead me to the legendary “Omen“ club, and I was blown away! There I got to hear all the awesome music by Underground Resistance, Plus8, R&S Records, PCP, Rising High, etc.. and I was hooked.
 
I never imagined ever being able (or “being in the position“) to make music myself. Back then you really needed to invest money into gear to be able to make music. I was 16 or 17 years old and „making music“ was like a dream – so, so far away…
 

 
I was mainly concentrating on visual art (sketching, drawing, painting, grafitti, etc. were my first love since childhood, before I realized I could make music), until a friend gave me a very primitive program for the Commodore Amiga computer, which one could use to make very basic music on a lofi amateur level. Even if not really usable, I understood the math behind it, and I noticed that there might be some talent in me, so I wanted more of that.
 
In late 1992 I was introduced to the guys from PCP, who I admired a lot. Their main producer, Marc, who I’m still friends with today, was so kind to borrowe me 2-3 „tools“ (a Roland TR-606, a Roland MC-202, a Soundcraft Spirit Folio 12 channel Mixer and a Yamaha REX-50 effects unit, to be exact) to record a demo for them.
 

 
Of course, that was years before hard disc recording, and I couldn’t afford a DAT recorder either, so I recorded these “live“ jammed tracks to cassette (no computer, only connected gear and me playing with patterns and muting channels on the mixer). Funny enough, they wanted two of the tracks and my first vinyl was brought to life – from cassette. It was called „MIRO 1“. That was in late ’93. I started making money with releases and gigs and I received my first advance from my publisher, from which I bought my first sampler, effect-machine and mixer…
 
Tell us about the podcast you’ve recorded for us.
 
I could make a huge story around it, but the truth is that I make a relatively fast selection of tracks that “click“ for me at that moment, and work with what I have. The podcast is more of a story or a vibe, rather than trying to “only“ make a good dance mix, I guess.

Miro Pajic Analogik Podcast

 
Tell us more about your collaboration with Items & Things – Marc,Troy and Magda?
These guys have been a major influence for me ever since the whole minimal thing was at its peak. Magda’s super twisted dark funk, Marc’s unmistakable productions and Troy’s “brave“, doomy weird sets were always inspiring and beyond this world. It often felt like “I totally know what you mean“ type of thing.
 
I got in touch with Magda about two or three years ago after I noticed that she was playing some of my tunes. I started sending her tracks and after several months I was remixing Marc Houle’s “Undercover“. Since then I had a few tracks released on Items & Things. A good thing.
 

 
How did Planet Core Productions influence you?
The whole PCP thing was often only associated with hardcore/gabber/hard techno, you name it.
 
Truth is, in the beginning they were just making techno house influenced by 80’s Belgian EDM (Front 242, etc.), Detroit, Chicago, etc.
PCP have released some of the best tracks back in 1991 to around 1994, which were nothing else than epic techno with its own signature – often dark, weird, futuristic, with a lot of attitude. I loved it, and they were from Frankfurt, same as me, which was even better because one year later I got to meet them.

When I got really involved and started releasing one or more 12“ per month, the whole scene had already started splitting up into all sub genres and PCP (with its dozens of sub-labels and its own microcosm) wasn’t the same as it was before. It was still okay and I was part of it, but deep inside I never felt it the way I did in the first years. Years and more than 50 vinyl releases later I had to leave the PCP ship and the world around it. In the early 2000’s I had to go another way, which, after a few years, guided me back to where I came from and also here: this interview.
 
Since nowadays music is available worldwide as soon as it is released, piracy is a big issue today. What is your take on that?
 

In the beginning I was very concerned, especially since I come from the days when you actually made money making music. Now I know that there are certain things you simply can’t change, so I just focus on other things nowadays. I heard that illegal downloads are going down, but I don’t know if it’s true or not.
 

 
You are an artist, so you have to balance dance/club music with abstract electronica. Is that difficult for you?
 

I’m constantly fighting with myself to be as dance-friendly as possible. As long as it’s rhythmical and it’s supporting the groove, in my opinion everything’s allowed.
The balance (in favor of the dance/club part) is important though, which I always get reminded of when I’m at a good party. It surely is no secret that I love the combination of these two, if you know my productions.
 
What makes a live performer unique? How do you decide whether someone is a live performer or a DJ? Which one do you prefer?
 
Technically, I don’t really care about details. To me it’s all about the end result and the signature/vibe/magic/hypnosis an artist provides in that moment. I don’t care if someone has dissected all his tracks to 45 channels in his live set and fiddles with 6 arms, or if he keeps it simple but has all the ingredients to play ping pong with my senses and/or force me to get sweaty on the dance floor.
 
If you heard a set you’ve downloaded by an artist you never saw in a club, and you really loved what you heard, you probably wouldn’t really care how he did it.

Vinyls or CDs?
 
Even though vinyl is a wonderful thing, I have to admit: I don’t care so much anymore (says the guy who was a „it must be vinyl“ guy for over 10 years). You can’t stop evolution and vinyl has been the music media Titanic for years…
 
Analog or digital?
 

Until 2005 my studio was all analog (at that time I’d never touched a plugin before) and I was loathing the whole digital thing. It was an ignorant and biased opinion. The result is what counts for me today. Whether oil or acrylic, it would still be a Van Gogh if it was painted by him. On the other hand, analog (hardware) music production gives you a totally different feel and inspiration than mouse clicks and looking at a virtual something.
 
 Clubs or festivals?
Clubs, because of the intimacy. Lights can also do their thing way better in a club. To me, this is an important thing.
 

 
What type of equipment are you using for your DJ set-up?

 
Since 1993 I was playing with vinyl or performing live (computer, sampler etc.), and I started the whole ITB thing in 2005, which changed a few things.
Since 2006 I’ve been playing live using Ableton Live, and I just started to DJ again this year using Traktor Scratch with an X1.
 
I know that your profession can get quite stressful at times because you dedicate a lot of time to it. What do you do to reduce your stress? What are some of your other hobbies?
 
 
That is a good question and something I have to remind myself about all the time. I think that doing “other things“ is the key. Being very focused and constantly obsessed with your career and your art can easily blur your view, suck out productivity and you can end up in stagnation. Doing “normal“ things can easily fill up that creativity cup. I’ve just reminded myself about that again.
 
 
What advice would you give to someone who wants to be in your shoes?

 
Have the faith of a child, be patient, be honest to yourself, have a vision that keeps you dreaming, and always aim for what you love and consider the best.
 
 
 

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At the age of 16, Albert attended a concert at a club in Barcelona featuring the legendary techno artist Marko Nastic. It was at this concert that Albert found his passion for electronic music as a creator, not just as a listener. He wasted no time investing in new records and the size of his personal music collection quickly increased in size.

Albert Rodriguez Analogik Podcast

After countless hours of committed practice, Albert began to develop a loyal fanbase of his own. The genesis of his new career culminated in an invitation to be the opener for a show at the La Cova club, just outside of Barcelona.

After wowing the audience as well as the club promoters, Albert was given further opportunities to hone his skills and perform alongside some of the biggest names in the European techno community. Performing with some of the greats influenced Albert’s style and, by adding his own ideas, he developed a trademark approach to song creation that combines traditional electronica with an appreciation for all things experimental. This personal musical evolution has continued to this day and Albert has earned a reputation for a musical style that is entirely unique among his artistic colleagues.

Not content to remain only a performer, Albert has recently begun to learn the art of music production. In fact, he and some of his friends in the music community have put their collective efforts together to organize a new event production company. The organization is called Wildlive and has already begun to schedule dates at clubs and festivals that will feature the elite of contemporary techno artists. With so much accomplished so quickly, Albert Rodriguez is sure to expand his artistic vision into the future. Judging by the quality of his work thus far, his future is certainly very bright.

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In an age of amazing innovation, it is easy to become jaded by reality until even an incredible event no longer seems exciting. AlterNation is an event organization on a mission to restore that lost sense of wonder and amazement to experiences of all kinds. Professional designers, graphic and video artists, event planners and top DJs come together as a unified whole to make AlterNation a collective of unprecedented talents. Any type of party, celebration, concert or gathering can be transformed into an experience of lasting impact with professional event organization.

Entertainment Reconstructed

Inspired by the Eastern European club scene, Alternation ,uses the exhilarating atmosphere of a nightclub as a means to present a unified concept. By blending scintillating entertainment with the focus of professional artists, a simple gathering can be transformed into an event. This combination of experiences can be used for any number of purposes. The array of entertainment provided by Alternation can become the core of any style of event.

Performance Artists

The performers of Alternation take on the aspects of colourful, vibrant entities that enhance the sensory excitement of a creative experience. Some of them are playful, some are enigmatic and some redefine the boundaries of eroticism. The central appeal of each artist is his or her unique contribution to the theme of the experience as a whole.

Fire Performance Artists

Few other things have the power to fascinate and amaze in the way which a burning fire captures attention. For centuries, the dance of flames has mystified and attracted untold millions. The fire performers of Alternation harness this timeless allure and incorporate it into a visual display that touches on the most primal fascinations of the audience.

These performers breathe fire into incredible shapes while twirling batons and orbs that are literally alight. The results have to be seen to be truly appreciated. All of the fire performance techniques can be performed with LED lights or flags for events that take place in indoor venues.

Motion Theatre

Dancers contort their lithe bodies to hypnotic rhythms throughout the event space. Theatrical dance styles are a form of artistic expression that combine stark beauty with stunning physical exertion. This type of dance lends an air of sophistication and refinement to events of any size or design.

Club dancers highlight the modern and trendy feel of sleek, contemporary events. With a soundtrack featuring the most popular and legendary DJs, these dancers highlight the appeal of futurism and the legacy of European electronica.

Parkour and Acrobatics

The visual splendor of theatrical dance is taken to new heights with the thrilling exploits of experienced acrobats and Parkour traceurs. As a performance, these activities are a celebration of freedom and the raw joy of movement. Acrobatics combine all forms of motion and elevate them to a level of difficulty that inspires awe from every member of the audience. The performers roll and tumble across the stage, leap from great heights and defy the everyday conventions of physical expression.

Parkour traceurs are among the most hardcore athletes in the world. They traverse urban landscapes with a grace usually reserved for theatrical performance. In a performance space, all of the details of their craft can be seen in a powerful new way. They bring an unbelievable amount of energy and vitality to any experience.

Stilt Walking

The stilt performers of Alternation are truly remarkable to behold. Towering over those around them, they create an otherworldly atmosphere where anything seems possible. Spectators can relate to them because of their essential humanity but are simultaneously perplexed by them because of their superhuman appearance. The different types of stilt walking performers each carry their own unique appeal that plays on the imagination of those watching.

The eRobotics performers are adorned with gleaming metallic armor and futuristic eyewear. The eRobotics 2.0 stilt walkers are similarly dressed but they are highlighted by vibrant LED lighting.

At almost 2.5 meters tall, the iPunk style of stilt performers are equally amazing. Their sleek colouration and fluid movement plays against the angular, hard outlines of body decoration inspired by techno-culture. Many more kinds of stilt performers, each with their own custom-designed costumes, can enliven all kinds of events.

The Art of Entertainment

There are dozens of other features of the Alternation organization. Virtually any event can be designed and any brand concept can be constructed by the Alternation experts. The boundaries of the event experience are not limited by the expertise of the designers but by the creativity of the event host. Any detail, no matter how minute, can be fully customized to create any type of event. Much more detailed information can be found at http://www.alternacija.com/

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The Eastern European electronic music scene has produced a bevy of artists renowned all over the world for their brilliance and creativity. Among this esteemed collective is Mihai Popoviciu, a veteran of the Romanian club Circuit. Mihai’s reputation did not come easily; he has been at the helm of both solo projects and collaborations for more than a decade. He has taken the house and techno tracks that shaped his youthful aspirations and crafted a sound that is emblematic of his personal journey. With a basis in the danceable lockstep beats that typify the nightclub experience, Mihai’s sound has evolved to defy both convention and expectation.

Mihai’s acclaim stems not only from his own musical catalog but also from his work as a producer. One of his addictive international smash hits, “Bis Co”, was the product of a collaboration with fellow artist Jay Bliss. Popoviciu and Bliss continued to combine their creative efforts, realizing a dream founded in struggle and sweat. If the response to their collective output is any indication, they will not cease to win new fans at any time in the near future. Mihai’s creative process has become a source of fascination and intrigue for legions of fans across the globe.

Many people know your name but not many know your story. How did you get your start in the music business?

I was into electronic music from the late 90’s but started to produce later, in 2001. It took me  4 years until I released my first vinyl on Gigolo Records in 2005. After that i knew that music is what i want to do for a living and things evolved into that direction.

The 80’s were a momentous time for techno and the entire electronic music industry. How did those musical developments affect you as a kid growing up in Romania?

I was too young in the 80’s so that decade didn’t have an influence upon me at that time but i discovered and consumed it later as a teenager. I have many records from the 80’s in my collection

Was there a point in your life when everything came together and provided direction for  your aspirations?

I think that one of the most important points in my career as a DJ/producer was when I quit my job as  an architect to focus 100% on music. That was in 2008 and I couldn’t do both music and architecture in a proper way so I had to make a decision. Luckily I chose music.

Electronica is a constantly shifting medium of artistic expression. What’s your take on the current developments in the scene? For instance, what do you think of the down-tempo drops in dubstep that have been appearing in so many other genres?

I must admit that I don’t follow the dubstep scene at all but I think that introducing specific elements of one genre to another could be interesting if they happen in a right context.

Anything is allowed, there are no rules in music. 

You’ve been in the electronic music scene for over a decade. Where do you find the inspiration to keep going and what drives you on during creative dry spells?

I ask myself the same question sometimes and to be honest I don’t have an answer to that. I can’t say that “this” or “that” gets me inspired, it just comes to me. There are days when I’m in a good mood for music and ideas have a nice and natural flow and some other dry days when nothing works and I just quit trying to produce because most likely it will be a waste of time.

After touring the world on the club circuit as well as the major festival routes, have you found a preference for clubs or festivals?
Both clubs and festivals have their own charm. I don’t get to play at festivals too often so I enjoy doing that whenever it happens because it’s different from a club night. However, I prefer clubs for the more intimate interaction with the crowd and for the longer set times.

If you could give a brief overview of your studio gear, what would that look like? Are you a hardware guy or do you operate mostly around a particular DAW?

My studio setup is extremely simple. I only have my PC and the monitor speakers, no hardware of any kind, I rely entirely on software. I guess that I am too lazy to try something new.

You know what they say: “Never change a running system!” 

You are known for your dance floor hits as well as for your work as a producer.What are some of your favourite studio tools and what would you like to acquire for projects in the future?

Although I work with Ableton, I never tried to do a live act so maybe in the future I will do something about that although I am really bad at technical stuff. Plugging cables and troubleshooting is not for me.

Do you still have that fondness for vinyl or have you developed a preference for new media, such as CDs or a purely digital format?

I play only CDs for almost 4 years now but i still have my vinyl collection down in the basement.  Playing vinyl feels great and I try to keep some of that feel while playing CDs but with all the promos that I get and with all the hustle carrying it around, vinyl it’s not reliable for me anymore.

Your exclusive mix. What’s the ingredient for your Analogik podcast?
I like simple and efficient grooves, music that moves you even if it’s deep and dubby. The Analogik mix is a sample of that.

Mihai Popoviciu Analogik Podcast

When you work on new tracks, do you ever draw on unfinished work from your past? Are there any unreleased tracks that have reappeared in newer releases?

Yes, sometimes I do that. Every once in a while I go back to unfinished projects and select the ones that I still like and put them into a separate folder for further evaluation. Most of the times I recycle the cool ideas from an older unreleased project and do something new with it.

What does the future have in store for you? Do you have any plans for the upcoming weeks, months or years?

I have a pretty busy end of the year with gigs in Paris, Moscow, Lisabon, Berlin  and Sofia for NYE. I also take care of my label Cyclic Records, which will soon celebrate 1 year since the first release. Apart from that I constantly work on new tracks and remixes that will come out next year.

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Hailing from Serbia, Marko Nastic has brought worldwide recognition to the Eastern European music scene. Marko has had to endure hardships that most electronic musicians can’t even imagine. He began honing his skills at a very young age while the Balkan conflict of the mid-1990s raged throughout his home country. Learning how to spin records and program beats in the midst of such a severe event has made Marko a humble but brilliant artist.

In just a short number of years, Marko has ascended to international fame, with many music publications praising his unique style and intoxicating tracks. He has expanded his touring radius and in 2002, he embarked on a tour which began in Brazil. He continued on to performance dates across the globe and he regularly books club and festival gigs on a worldwide scale.

These days, Marko hosts a popular Serbian radio show and continues to create some of the most thrilling music ever to emerge from the European continent. If fact, his latest album is due to be released soon and will undoubtedly be met with critical and popular acclaim. Only time will tell what new and brilliant creations Marko Nastic has in store for us.
 

 

When did you discover electronic music? Were you instantly drawn to it, or did it take a while before you felt that passion to create?

Well, the story is that I’m not the first DJ in the Nastic family, and this family saga starts in the early 70s when my uncle (father’s brother), bedroom bedlam DJ, started DJing from disco to disco at local parties and small clubs.. And so my journey was simple, since because we lived in the same house, the young me was surrounded with mixers and records and it was really fascinating, and so the history was written. Young Nastic and rave, well – I didn’t need an invitation I was already a part of it!

The beginning was hard, but I think that all beginnings can be hard, especially finding money for the records, considering I was 15. It was as quick as a lightning, I had new friends and among them there was young Dejan Milicevic, and in no time he became my ally, we were sharing records, we made our first group, and, of course, our first steps on the scene! Teenage Techno Punks was the first group I started with Dejan in the late 90s, named by Gordan Paunovic, and which had a huge support of the rest of B92 crew, Dejan’s brother Sale Milicevic, Dj Lale and Vladislav Tomanic. We were on the road to joining the stars of the Belgrade clubbing scene.

DJing was definitely an instant passion, because my life completely changed from that moment on (in a good way), so I finally got a special calling, because as a youngster, at the age of 15, I was not so sure about what I wanted to do!
 
 

 
 
As a child, what genre of music was your favourite? What bands did you follow? How did the music of your childhood affect your taste in music today?
My childhood was quite cool, I listened to a variety of genres, from the golden music of the 70s-80s up to the 90s, which included my heavy metal, punk, rock and of course hip-hop period..
This kind of variety in music made me open in all directions, and in the time to come I didn’t close my circle with only electronic music which I still (need I say) like to listen, but in a way.. It’s my job!
I always loved Giorgio Moroder, Vangelis and Jan Michael Jarre, and also The Clash, The Smiths, Happy Mondays had a big influence on my childhood.
 
 
Was there one particular concert, party, or festival that sealed the proverbial deal for you? Did you have that moment where you knew that there was no turning back and you were committed to electronic music?
Well, at that time there was a club, Industria (it was the first electronic club in Serbia), where we all hung out (it was a small group of people who discovered rave and shared the same ideas about music)… I think the moment when I found out that there is no way back was the moment when I felt that crazy energy which is still the same!
 
 
What does Teenage Techno Punks mean to you?      
Well, it was my first love, you do not forget these things. I’m emotionally stuck with that, Dejan and me, we work together often, and we are also partners in a studio. But TTP is no longer working, we are not teenagers any more..
 

 
What is up with Recon Warriors and Traffica? Any news you want to share?
My first labels – they are there, and if I decide to release that type of sound I will do it, but for now I’m not showing interest in producing tribal techno. But, in way people are still asking me to release some of my old work. Even though that sound is behind me, I am really proud of that time and that period!
Concerning labels, I made a new one, it’s my baby called Sake & Vinyl Only and it’s the label where I will do only my music with selected rmxes.

The first release is already out (it’s a vinyl release ). I think that the digital release will be out at the beginning of January, but the concept of SVO is that I will be spotted once per month. At the moment I sign rmxes from Martinez, Matrika, Ray Opkara and Wouter De Moor.
 

Every DJ has his favourite spot to play. Where is yours?

I’m Serbian and my roots are stuck in the Balkans, so I definitely love to play in my region where I made my trade mark! Belgrade is my never-ending love, even if it is not taking me in a good direction, considering what kind of hell we have been passing through all these years with all the isolation.

Do you have an alter ego? Would you mind introducing us to him?

I have a couple of alter egos, and honestly I forgot lots of them. From 2000 I produced under a lot of different names, but apart from Marko Nastic the most successful project was FATBOY JR.
Currently I am finishing my 2nd FatBoy Jr and working for a while on the Marko Nastic debut album.

 
Vinyl or CDs? What’s your preference?

Well, when I started out I was famous for my 3 deck magic, and throughout the years I tried everything and I like it, but at this moment I definitely work with a combination of vinyl, cd and fx… We joke that real DJs play vinyl, and all these controllers are really interesting, but I find that they are more for ppl who want to try DJing in their rooms and to discover more about DJing, it’s not for professionals.

Do you enjoy playing clubs or festivals more?
A bit of both, both things have a special vibe. I prefer clubs because I have a wider approach to the audience, and my music is more eclectic. Big festivals are a big boom, I usually take my family with me to experience that madness.

There are a lot of trends in electronic music. What are your thoughts on some of these trends, for instance slowing down BPMs?
Music is like fashion and it’s changing fast, you simply need to be in the right place at the right time and catch that vibe and that feeling
I know that in my case it is all simple, I am growing more mature and my crowd is too.

For the podcast I made more a mix that is more on the deep side! I hope that you’ll enjoy it!

Marko Nastic Analogik Podcast

What is your standard setup when you are performing?

It really depends, I have a couple of setups and all of them are made so that I feel cool and relaxed when I need to perform, but my favourite setup at this moment is:
2 decks, 2 CD players, a sampler, a delay and a Korg fx box, and on the side I have a small, custom made mixer which allows me extra channels on the Allen & Heath mixer.
The point is, if I play longer sets, I want to express myself in more ways and to enjoy more variations of mixing!

Do you prefer DJing or producing?
DJing is a piece of me, I started out as a DJ, but with me getting older I like producing a lot, and my biggest enemy is time. When it comes to production, I need to put everything aside and focus, which is sometimes hard!
 
You have a new EP out: Circle. What was your inspiration for this latest release?
Yes, I am really proud of that EP. It happened very quickly and I got a huge amount of feedback and support for that EP, so now I’m working on more tracks with a similar sound!

MEM012 – Marko Nastic – Circle EP

The world of electronic music is filled with up and coming artists. Who do you see being the next big thing?
I’m following the work of the Dutch producer Steel, Okain, Wouter De Moor, En Topic…
 
You have reached a level of success that many aspire to. What advice would you give to those who hope to be in your shoes one day?
Like my uncle said once, but I was too young to understand then: avoid bad company, stay true to yourself and work..

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Not many players in the DJ game have been around for as long as Dejan Milicevic. After nearly two decades in the fast-paced world of dance festivals and dark nightclubs, Dejan’s level of music mastery has become legendary. Ever since he began to spin records as a teenager in Serbia, Dejan has had to work hard for every achievement to his name.

Now, with an international fanbase and over eighty releases, Dejan continues to sell records at an incredible rate. His latest album,“Just Keep Talking Girl”, dropped in August 2012 to critical and popular acclaim. In addition to his extensive catalog, Dejan also co-owns a studio, has established his own record label and helps aspiring musicians learn how to use Burn Audio Tool to make their own tracks.

Truly, Dejan’s career has been an amazing journey filled with countless achievements and successes. He has overcome the circumstances that diminish the dreams of many artists like him. He has defied convention by bringing his Serbian heritage to his music, outperforming house and techno artists from hotspots in New York and London. Thousands of his devoted fans would love to have the opportunity to ask him, “How do you do it?”
 
 

Obviously you were doing something before music became your career. How about you fill our readers in on your background?

Well, I have been doing music since i was at the age of 15 so doing something before that would be in my primary school   No way, music has been my only occupation and passion for whole my life so far. Within music you can find lots of different work, from managing to performing and producing.

What kinds of music would say shaped you as a musician? What was it about electronica that drew you in?

As I said I was very young at the time I started playing in the clubs so what I had the chance to hear by that age is all thanks to my older brother who was well informed in dark, industrial, body, electro and some very beginnings of house and techno.That is where I got my love for the sound generated true electricity and algorithms. Besides electronica i was also exploring lots of hard core, rock, punk and metal as a skater at the time.

Musicians draw their inspiration from multitudes of sources. Your fans may find it interesting where you fond yours. Other than electronic music, what other types of music or other artists do you listen to?
Well, I mentioned in the other question what i listened to as a kid so what happened after is that electronica grew so much and managed to spread true so many different types and directions of itself.So being able to have all of that in my speakers took me and is still taking me a lot of my free time. Also i had a long period of funk and jazz that totally influenced my first album, some bossa nova and the caribic beats and of course influenced by my dad was the classic education that i received all my life.

Dejan Milicevic Analogik PODCAST 06.11

It can take quite a while until a musician makes a substantial living from their work. Since you have been on the electronica scene for a while now, have you finally hit the point where you can live off the revenue your music makes?
Lucky for me yes,I can have a nice life from the earnings I get, but I do it for more than 15 years so would be silly if I could’t by now.

You seem to have travelled a lot. Where are some of the most interesting places you have been?
Well, I have been all around EU so many times and I consider it to be one big country,now that I am very familiar with, so I know by now more or less at least one good restaurant or a friend in every EU capital or a city that has electronic scene. Also i have been travelling to America that was a very nice experience and South America as well and I loved it. Lately I am making contacts with the East Europe and Asia, these are the places that I had less opportunity to visit and sure want to.

A song you dedicated to your girlfriend is also the title of your new album. It is a real hit! How did all of that happen?
Hehe, well, you know, some things open in a moment and you catch that moment. Right?

What’s been the reaction of your fans to “Just keep talking girl” being released on the Deutsch label “Plastic City”?
Very nice actually, that label is a very old and appreciated within listeners and DJ’s for so many years now, becoming one more artist on Plastic City was my honour.

You’ve been a tough to get a hold of; you’ve been booked for numerous festivals and performances. How was your busy schedule this summer?
It was amazing, I had so many good bookings all around, I played Exit, Tomorrowland, Kazantip and so many more good gigs around, it was a very busy summer, especially august where I played 12 gigs.

Clubs or at festivals and why?
I love playing music and it does not matter where it happens, my thrill is to do it in front of the audience and to have instant feedback. I prefer smaller clubs of course only for that you can really play whatever you want and the crowd digs it. On festivals is a different story, I always prepare myself for the best and the biggest hype possible.

Vinyl vs. CD myths refuse to die…what is your point of view?

Actually that is a difficult question, at the moment I am playing vinyl and CD’s and I left my lap top and tractor home but it does not mean it will not change again. Always with new technology something new happens and we must not ignore that.

What is your step-by-step creation process? What kinds of technology and equipment do you favor and why?
I am living along technology all around me every day, so all the new things that pop up like compressors, computers, EG’s, effects etc…. i can afford are in my studio. Important thing is knowing what to buy so you don’t give away big money for something you will not use and that happens in the process of making a studio fit for your demands.

What types of equipment do you use in your performance set-up?
At the moment old school, vinyl and CD’s and also I have a sampler attached on channel 4.

The scene” has a particular sound, how would you interpret it?

Vibrant and cosy

Just to let your fans know, which record are you currently playing the most of right now?
 
At the moment a guy called Adham Zahran caught my attention with his Paddington EP so enjoy it.

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Yousef’s new album “A Product of Your Environment”constitutes a significant shift in tone and style for the legendary DJ and sonic artist. The new tracks distance themselves from the standard fare of beat-centric and bass-heavy cuts that DJs so often spin in clubs.Of course, Yousef’s latest offerings are intensely danceable, but there is a focus on melodic leads and harmony that is not present in most house music.
 
If there is to be a revolution in electronic music, Yousef could very well lead the way and “A Product of Your Environment” will make an excellent ignition. It might be tempting to refer to this release as an improvement on Yousef’s first album,”A Collection of Scars and Situations”, but calling it an evolution is far more accurate. 
 
 
 
 
After all, “Product” is only the second full-length album from Yousef, it can hardly be viewed as an entirely separate entity. The new album displays many traits that made “A Collection of Scars and Situations” such a hit among the international dance community.

 
 
 
The opening track “An Old Friend” creates a solid introduction to the theme of the album as a whole. Starting with punchy piano chords and ethereal pads, the melody wraps itself around a wash of glittering synthesizer overtones.
 
A simple lockstep beat carries the tune to a gentle peak that is enveloping rather than arresting. All complexity vanishes as the instruments fade and the song becomes a mirror of the intro: simple chords floating in dark space.
 
This track has a destiny far beyond the club.Another highlight of “A Product of Your Environment” is the sixth track, titled “What Is Revolution.” A heady swirl of crisp hi-hats and cymbal crashes is juxtaposed with cold electronic blips and beeps. Reversed cymbal splashes lend a distinct eeriness to the melody.
 

 
All of this is underscored by ghostly plucked strings. The build is gradual, with cleverly understated power. The mysterious voice of an old man steadily reciting lends gravity to the track while dissonant Spanish guitar riffs play. The drop is entirely satisfying and a little breathtaking.Yousef displays his acid house heritage with “Dissolve.”
 
A tight kick-and-handclap beat propels a fat synthesizer bassline into spacy interludes that smack of the vocal drones found in Goa electronica. Piano chords return to assert command of the melody, cementing the hook in place.

One of the more danceable tracks on the album, “Dissolve” showcases the meld of styles that Yousef has achieved with this work. The sonic palette that he draws from is vast but the listener is not left to wander in space. A thread of similarity binds the tracks together so that the emotional impact of the listening experience resonates.

 
It is possible to imagine Yousef waiting at the end of the tracklist, beckoning the listener towards the conclusion of the experience. Aural landmarks line the path as the tracks morph and spin.
 

TOUR
 
01 – CIRCUS @ EMBASSY – Jogja – Indonesia
02 – CIRCUS @ Stadium – Jogjakarta – Indonesia
03 – CIRCUS @ Hu’bar– Bali – Indonesia
09 – NEW GUERNICA – Melbourne – Australia
10 – GOLDFISH – Sydney – Australia
17 – THE GARAGE – Swansea – UK
24 – CIRCUS @ SULLIVAN ROOM – New York – USA
30 – CIRCUS @ EGG – London – UK

The post Yousef’s New Album Offers an Evolution of Sound appeared first on Electronic Music.

We interviewed La Baaz, one of most awesome and promising techno artists on today’s scene and he prepared a special, exclusive dj mix for your pleasure. Check it along with several other projects Patrick’s on. Techno friday’s on.

For those who heard about you but haven’t go in depth, tell us a little bit about yourself please.

Hello, my real name is Patrick Sonderegger and I live in Zurich, where I have my studio and the office. I’ve started my electronic music career in 1994, at this time I’ve organized small outdoor parties where I was playing my first vinyls. Back there I produced music on old C64 and Amiga Computer but soon I bought my first audio equipment to refine my tracks.

From 1999-2004 I’ve released countless progressive trance tracks together with a friend under name Paste. La Baaz project was launched in 2002. In this project I focused my tracks and sets more into Techno.

Today, in my DJ sets, I play chosen minimal techno and groovy tech house with unique atmospheres and groovy rhythms using Tech approach that designates my trademark sound. In my home town, Zurich, I am also co-organizer of the successful party series Kinky Beats.

What would you be if you didn’t gone this way (music production) ?

For me music has always been a very big role in my life, I’ve sung in bands before, now I’m a DJ and producer. The music has sent me on big tours and I have met many interesting people. Something I would never miss. Incidentally, I’ve specialized in website programming. Today I am self-employed and run along with the music successfully a small web agency. I’m very happy with this combination.

Do you remember the event (party/festival) that sealed your destiny and made you go this way?

It was not really a festival I was especially fascinated by the electronic music that I could compose on my computer. Very early I had C64 and Amiga, and I tried to make my own tracks. I’ve played tapes of my own compositions at that time on small open-air parties, people were crazy about it.

What did you listen to and what/who was your inspiration back then when you were starting your thing?

In my teenage years, I’ve listened to rock and heavy metal, fortunately, in the 90’s, I was lucky to get inspired with techno and progressive trance. I’ve developed my sound taste over the years – from the quite deep, progressive trance sound to the Tech-house and Minimal-Techno nowadays. When I think about music, I always produce what I personally like.

Do you travel a lot and what is your favorite gig destination?

Lately, I’m not travelling a lot. As I said, I run my own company, which has occupied my time. Zurich is also quite a beautiful city to enjoy with a lot of parties and good people! I’ll be back to traveling abroad and performing soon. I was travelling and performing a lot before, in Mexico, Brazil, Australia and several European cities.

I play a lot of DJ sets in Switzerland, but Mexico is currently my favourite destination, I played at big festivals with lovely people and they love the sound of La Baaz.

Favorite festival and why?

My best festival experience I had in Mexico at the Soul Tech Festival, where we performed as Moosfiebr. The crazy thing was already the trip to the festival. We should’ve play at 2:00 AM and we have been picked up at about 1:00 AM from the hotel in Mexico City.

There were about 8 artists in the bus. On the way up, the dirt road to the festival, many cars and thousands of people were waiting for the entrance. We had to pass exactly trough this. There was almost no passage with the small bus. We stopped several times stuck in crowds of visitors.

The driver told us that we should stay invisible in the bus, because it could be dangerous if the fans spotted us. They are crazy about making photos of us and eventually would want to get into the bus.

Suddenly, some of them spotted us and started shaking the bus, but in the right moment the driver was able to break out of the crowd. After 3 hours journey and some wicked moments we arrived very late on the stage and we could start our live performance in front of 15.000 people waiting for it. It was a crazy experience. The best festival in Europe for me is the Fusion Festival near Berlin…

If you have a family and travel a lot, how do you manage to overcome being a homesick?

I’m with my girlfriend for many years. Always when I have to go for a gig in another country we miss each other for that time but she also likes electronic music a lot so she often travels with me to the gigs and we can enjoy the parties there together.

Now when we know more about you, what is your favorite hardware/software platform and setup?

I’m a computer geek since the beginnings of C64 and in my studio I work with a PowerMac and Cubase. That’s also one reason I work almost only with a VST’s setup.

VST’s you’re using a lot?

• Tone2
• Lineplug
• Fabfilter
• Sonalkis
• Arturia ARP 2600V (I like it a lot)

Who’d you love to collaborate with in the future or you’re a lone gunman?

At the moment I work with DJ Kara Maehl our joint projects Moosfiebr and La Baaz & Kara Mehl. In the future I would like to invest more time especially for the project La Baaz and Moosfiebr. I like to do remixes for other artists to get new musical input.

What’s your take on piracy now when music is available worldwide to virtually everyone immediately after being released?

Well, the internet has changed the music industry and new technologies are always made so that sound is easy to copy. There is one point to make it all valid, because if a fresh artist wants to be heard, their music should get out there as much as possible, even with the prior knowledge that it will probably be illegally downloaded. This can be also a good promotion, and you will get a gig faster in foreign countries.

Of course the income of an artist has changed, I think most of the artist charge now more for a gig to get their income compensated. But if somebody wants to support their favourite artists, they should buy the music on Beatport or other online shops with a good feeling.

Please, when you’re going to drop that “Freak It” SoundCloud bombshell already in its entirety? I played it like gazillion times, it’s insane!

My newest work “Lady Elliot” will be released as soon as I have a second track ready for an EP.
The tracks “In the Club“, “Loco Motive” and “Freak It” are all released on Bosphorus Underground Recordings. Check it out.

Any work in progress at the moment and can we expect a release soon?

Lately, I’ve focused mainly on the Moosfiebr project. We have a remix ready for Minilogue’s “Doiice” and for Ticon’s “Blow My Horn“. Several pure Moosfiebr tracks are in the pipeline for a release.
With La Baaz I had some releases on Bosphorus Underground Records, where others will come in the future. One of my latest unreleased works you can listen on soundcloud.com/labaaz

What do you play/listen to these days?

I listen to anything with a character and what I think is good music. Mostly I’m into minimal-techno and tech-house with emotion. In my DJ sets I play quite a wide range, from groovy minimal-techno/house to very emotional electronica as well. I’m always finding the right groove to make people happy on the dance floor.

Some of my Favourite Artistes are: Pan Pot, Stephan Bodzin, Julien Jeweil, Dubfire, Oliver Hunteman, Adam Beyer, Sam Paganini and more..

Contact:

• http://www.moosfiebr.com/
• http://www.kinkybeats.ch/music.htm
• http://dj.beatport.com/labaaz

Social:

• @Facebook
• @Soundcloud

La Baaz – End of Summer Mix 2012

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