Stray Landings

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[straylandings]

Gerry Read & Kevin McPhee // FRUMMPPP

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Label: Fourth Wave

Format: 12"/Digital

Release Date: 04/05/15

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I’ve spent far too much time combing over Kevin McPhee’s 2012 Boiler Room mix trying to ID releases. Just about every track in the set was both unreleased and unidentified at the time of broadcast, from Bobby Champs’ swaggering ‘Krenshaw’, Boddika’s piston-firing ‘Steam’ and McPhee’s own dizzying WNCL release ‘In Circles’. Whilst these have all been slowly siphoned off over the years, there are still gems yet to see the light of day three years later.

One such gem to be unveiled recently is ‘FRUMMPPP’, a collaborative release from McPhee and camera-dodging Delsin signee Gerry Read. Anyone familiar with their first meeting on ‘Demolition Man’ will be aware of the mayhem their combined efforts can bring, retaining a healthy amount of self-aware humour amongst the bravado.

‘FRUMMPPP’ does share some similarities to their first offering in its jagged lo-fi thrills, but otherwise deviates quite a bit from 'Demolition Man'. Staggering, fax-tone glitches and thickset, stomping 4/4 kicks mesh together, thundering brazenly from the commencement. There is something vaguely comic in the way the track swaggers forward cocky and unabashed, grinding synth-tones struggling to keep up with the incessant boom of low-end.

On the flipside the pair have turned in a recast of the original, vaguely familiar of Gerry Read’s previous Fourth Wave offering ‘Legs’ with it’s mangled sampling and rough-edged, skittering house rhythms. Bumping, chopped-and-screwed house drums work into a chaotic frenzy alongside clipped vocals and misfiring computations.

Read and McPhee are two artists who share much in common in their sonic outlook, and although only making up their second release together, ‘FRUMMPPP’ is just as joyously noisy and quirky an affair as ever. Let’s hope their next meeting won’t be too far off. 

Words by Theo Darton-Moore.

[straylandings]

Other Terrains: Reeko Interview

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Now with over a decade of releases under his belt, Spanish producer Juan Rico has become a well-established name within the International techno community. Under his various aliases Rico has extended his output to a diverse set of labels, including Oscar Mulero’s Pole Recordings, Ben Sim’s Theory Recordings, and mainstay Planet Rhythm Records. Following his latest release, a two-part reimagining of Kafka’s ‘Metamorphosis’, we caught with Rico to discuss Barcelona, Danny Elfman and the Birmingham sound.  

So to start things off, how has 2015 been for you so far? Quite impressive to have three releases out in three months!

There are still interesting things that need to be edited for 2015 but I’m sure it will be a great year overall, both in my professional career and personal life. It’s important changes in my life that give me the energy when it comes to production work. 


Can you tell us a little bit about the ‘La Metamorfosis’ EPs? How did the idea come about? Should we treat the two as a split album?

Yes, of course we can call it a split album. I liked the idea of doing a mini series of two parts, which could tell the story in another way. I think it’s always interesting to change ways of doing things, and in this case, I split the album into two parts instead of one. The whole idea came when my brother, who’s always had some influence on my creativity and always finds things to recommend to me that will often serve as inspiration for future projects, and usually film related, recommended that I read Franz Kafka’s ‘Metamorphosis’. He thought I’d like it and that I’d find some inspiration in it, though I don’t think he expected that ‘La Metamorfosis’ would be the outcome. 

I started to read the book during one of my flights and because it’s always noisy on the plane, I had the idea of putting some ambient music on my MP3 player as an improvised soundtrack. It was something really inspiring and casual, since I chose tracks that suited reading the book. Then, I came up with the idea of translating the story into techno, telling it in multiple chapters. In this way, I find it easy to create something; when you have a strong source of intense inspiration.

What drew you to Kafka’s work in particular? I’ve always thought of his novels as being perfect for reinterpretation for some reason, but I don’t think I’ve ever heard a musical reimagining before. 

That’s the best part of it all. It also appeared to me as an innovative and different way of translating the book. I thought it was intense in the beginning, and I tried to express that in the music, using organic sounds - for example the insect on every track, striving to tell the story in a better way. 

You seem to put out around five releases every year under various aliases which is pretty crazy… How do you manage to maintain a level of enthusiasm? What keeps you inspired? 

I don’t have this kind of performance every year, mostly because other years there have been circumstances, like trips for example where I have less time to edit releases… But yes, it’s true; between the projects I edit at least one album a year. I look for inspiration by giving my albums a feeling and an argument. That kind of inspiration I get mostly from movies. I watch a lot of films and I find movies are a great source of inspiration.

Sometimes an important personal situation can also inspire me in a great way. Recently I moved to Barcelona and this change has had a big effect on both my personal and professional life. I find much more inspiration over here and have much more energy than before. That’s why this year I’ll release a lot more than before under my two aliases. 

Speaking of aliases, I’m a big fan of your dub work as ‘Architectural’ - what was the thinking behind starting that alias? Do you see it as necessary to have different monikers for each style that you explore? When do you know that a release is going to be under a certain name? 

Architectural started during a musical transition I was experiencing, where I produced only one kind of techno, much more raw than what I produce nowadays and much more oriented towards the sound of the noughties. So I started to explore new sounds, to play around with dub elements. The first result was an edited EP on Music Man’s label under my ‘Humano’ alias, but that label in particular wanted me to release all my work under that alias with them and I didn’t like that idea. So, I decided to create my own project from the beginning, considering I had so much material. It was a new world for me! I could experiment with melodies and sound that I couldn’t use before, yet was able to keep the intensity in the tracks. It’s not that I believe that it’s important to have several aliases, there are people that have explored different styles and genres while still using the same name. That said, there are other artists like me that were tagged from the beginning with a specific and concrete style and it's quite hard to get out of that.

So, if I wanted to do something different, like Architectural, I had to create a new name. After all, I don’t want to leave out the techno of my origins! The truth is, I don’t believe there’ll be any doubt about what track will come out under Architectural or under Reeko. Even when the tracks could have some similar sounds, each project is very different. Architectural has a futuristic jazz vibe and it’s melodic, while on the other side, with Reeko, I experiment with new sounds which make the techno sound more organic and raw.

I’m also really fond of your explorations into ambient - is the genre something that you listen to often? Who are you listening to at the moment more generally? 

I do listen to a lot of ambient and I have a lot of it on my mp3 player: ambient, experimental and composers like Gustavo Santaolalla, Danny Elfman, Angelo Badalamenti and Alexander Desplant. Also, in the ambient and experimental world, people like KTL, Asmus Tietchens, Ryan Teague, Oren Ambarchi and many more. It is a genre that I find attractive and inspiring - especially tracks that last longer than 20 minutes.

You’ve been DJing for what must be around 15 years now - what are some the shows that stick with you most? What makes a show memorable for you?

It’s very hard to say which one of them. From the more recent ones, I remember my first time in Buenos Aires’ Under club. I really liked the public’s reaction to my first four-hour-set. It was a very atmospheric and visceral session and I think the audience reacted as I’d hoped.

What really makes a show memorable is when I find the perfect mix between a comfortable booth and being close to the audience, coupled with a nice, clean and strong sound, and an audience willing to listen and feel.

Your Discogs page cited Birmingham as a reference for your live sets. How much of this is true? Is the work of Regis, Blackdog, Surgeon, Sandwell District etc important to you? 

In the beginning, the music coming from Birmingham was very important and in Spain that style was quite successful. When I wrote my first albums, that’s why they have that sound – it has helped me write the techno I write today. But like everything, there are beginnings, and mostly when you’re young and don’t know other areas, you just do things in the tried and tested way. Nowadays, I think things have changed and the influences are there. Those artists influenced thousands of producers, including me. Year on year every artist has looked for his inspiration in different places. In my case, when I started to listen to different genres, you could tell by the way I produced my music. I think it’s important, but something you only learn over time. 

Finally, what can you tell us about future projects you have coming up? Anything releases in the pipeline you can tell us about? There are some tracks waiting to be released before the year ends. An EP with Pole Group that’ll be released in July, an EP with Soma after the summer and an album under my Architectural alias. So, it’s going to be a very busy year I guess!

[straylandings]

Volte-Face // Charlatan

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Label: BleeD Music

Format: 12"/Digital

Release Date: 11/05/15

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Promoters BleeD have been bending the rules of the London clubbing circuit since late 2010. Their bookings have brought many of the darker, more abstract strands of electronic music to the capital, without detracting from the fact BleeD events are in essence, still parties. The theme of mixing the abstract with the functional has also been used in the construction of BleeD's debut record release, composed by founder Caspar Clark operating under his Volte-Face alter-ego. The 'Charlatan' EP recalls hours gone by in blackened warehouses, presenting a selection of five deeply hypnotic dancefloor trips.

Considering it is the opener to BleeD’s frontier as a label, 'Until The Light Takes Us' is notably intense. The track mounts to almost unbearable levels of pressure - Clark’s dizzying synth motif’s cutting through the air like helicopter blades getting progressively faster in preparation for take off. Alternately, Peder Mannerfelt’s recast reduces the track to it’s essentials, teasing out some wild modular squeaks and bleeps in the process.

Despite the quality of the remix, Clark has arguably taken charge of presenting a diverse release quite well on his own however. The gliding, Deepchord reminiscent ‘Sine Qua Non’ for example is followed by Clark's most deviant of offerings, 'IXAXAAR'. The track clatters forward loosely for its opening minute, before being snapped into line by a booming 4/4 stomp. Bleeps and blips echo through the fog, stuttered voices occasionally adding to the paranoia. The EP’s title piece, ‘Charlatan’ on the other hand closes the record with swathes of warm, dust-coated ambience. It feels to some extent like a ghostly echo of the track’s opening offering - thundering rhythms and rushing chords reduced to faltering melancholy soundscapes.

BleeD have proved their value time and time again through their event series. Given that, alongside the creativity displayed across this debut release, their entry into the label game should only spell good things for the London techno scene. Watch this space.

Words by Theo Darton-Moore.

[straylandings]

0045 // Chra

There are many reasons you might have heard of Christina Nemec. She is the founder of Comfortzone Records, producer Chra, and bass player of Blackest Ever Black favourites Shampoo Boy. Speaking of the 70s and 80s however, it appears Nemec's focus wasn't always on electronic music. "I grew up in a small town called Villach, close to the Italian border and the former Yugoslavia" she begins. "In the late 70s I loved hard rock, post-punk and of course Kraftwerk. I started to play bass guitar in the early 80s and moved to Vienna where there was a big post-punk/new-wave scene which I fell into. During the late 80s I played in several guitar bands. Inspired by Godflesh we started Bray a combination of a drum machine and 3 bass guitars."

Whlist Bray have continued along the metal route however, Nemec was drawn in by electronic music. Speaking on the scene in Austra, Nemec is rather animated. "Especially in the mid-90s when labels like Mego and Laton started, music changed. It was hip that time to listen to abstract music... funny! I really loved it - techno got way too commercial for me. These days Mego still exists and Fennesz is still around in Vienna, as well as some of the colleagues and friends I've also incuded in my mix. There is still a pretty diverse scene and some nice clubs as well."

Recently her passion for more abstract sounds has found a home in her glitch-laced solo project Chra, and as a part of Shampoo Boy, alongside Peter Rehberg and Christian Schachinger. When asked about her first meeting with the group however, Nemec's story dates back long before the band's formation. "Peter was DJing in the late 80s at a bar called Chelsea Bar in Vienna" she muses. "I heard Mark Stewart's 'Stranger Than Love' for the first time in that set, and fell in love with it. Schachinger was playing in a noise-rock band that time - Occidental Blue Harmony Lovers. Soon after Peter moved to Schachinger's apartment and they formed severals bands together and ran a fan zine. We started the group much later, having our debut release on BeB in 2013."

Alongside the two production projects Nemec founded her own label Comfortzone in 2009, originally as a platform to release her own material. As she explains however, Comfortzone soon evolved into something much more important. "I started the label release my debut album - I was in negotiations with labels, but didn't want to wait so long. I also wanted to establish a platform to release lots of queer/feminist artists - as a member of female pressure I felt an urgent need to." Comfortzone were responsible for one of our standout albums of last year, Reshaft's Decon, and have pelty in the pipeline for 2015, including a 7" record with Mika Vainio, and a compilation EP featuring various Vienna based female producers, including Gustav, Cherry Sunkist, Pasajera Oscura.

Nemec's mix for us covers an hour of the drone, ambient and leftfield techno with which she has been promoting in recent years, featuring several Comfortzone artists, as well as some of the projects with which she is involved with directly.

Tracklist

Irradiation - Entropy [Temp Records]

LCC - Quarz (Tujiko Noriki Remix) [Editions Mego]

ZU & Eugene Robinson - We're All Friends [Trost Recordings]

The Haxan Cloak - The Fall [Aurora Borealis]

Reshaft - still_echo [Comfortzone]

Cherry Sunkist - Glass [Comfortzone]

Shelley Parker - Beachy Head [Structure]

Klara Lewis - Shine [Editions Mego]

Mika Vainio - Rasputin 3000 [Comfortzone]

Fennesz - Becs [Editions Mego]

Shampoo Boy - Riss [Blackest Ever Black]

Chra - Snowbird [Comfortzone]

0045 // Chra by Stray Landings on Mixcloud

[straylandings]

Biomass & R.O.M // M.D.O.F EP

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Label: Modal Analysis

Format: 12”

Release Date: 20/04/2015

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Greek imprint Modal Analysis have had a pretty flawless run since their founding in 2012. They approach their records in a careful, considered manner - making sure each sounds unique whilst still maintaining a consistent aesthetic. Their latest 12" managed to capture my attention before I'd even listened to any of the tracks, showcasing a rather intriguing collaboration between Greek experimentalist Biomass (Panos Kyveleas), and Italian improv-noise duo, R.O.M (Alessandro Quintavalle & Luca Pastore). 

The so titled 'M.D.O.F' EP (standing for 'multiple degrees of freedom') arguably deviates the furthest from Modal Analysis general blueprint. Despite their gritty textures previous records have felt wholly electronic - here the fact the ‘M.D.O.F’ EP  is the product of several unrestricted live jams with acoustic instruments is incredibly audible. If you give the record the attention it deserves, the details and nuances hidden within unfold continuously, revealing more of themselves with each listen. There is some ambiguity between which timbres are organic and what is synthetic - Kyveleas' buzzing drones and R.O.M's menacing free-jazz ramblings churn together as a single entity. 

Take opening track 'MDOF#1' for example, it's hard to tell where each artist's work starts and finishes across the sparse, seething soundscapes Quintavalle's earth-rumbling bass work almost indistinguishable alongside the bed of found-sounds and warbling synthesisers. Proceedings seem to get progressively warped as the release moves forward, 'MDOF#3' working into a particularly gurgling climax, more unsettling than the darkest of Lynchian nightmares. 'MDOF#4' maintains these surreal contortions, screeching woodwind building to a headache inducing climax around the track's midpoint, before faltering to reveal Kyveleas' muted static percussion.

For the electronic avante-garde to fuse with the orchestral so gracefully is a rare occurrence, especially in an age where classical music meeting the electronic world usually results in some dodgy tech-house with a string track laid over the top. Biomass & R.O.M have managed to present a release which explores the relationship between these two spheres with rare grace and originality.

Words by Theo Darton-Moore.

[straylandings]

0044 // Lofthaus

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Photo by Marie De Cuir 

Lofthaus is the joint project of Thomas Barnes and Henry Gillett. Together, along with Marie De Cuir, they form 'Algebra of Need'; a collective outlet for a range of art forms including cassette, vinyl, text and film. “We all trust what the other writes and don't care if it isn’t "marketable" - something that is sonorous is far more important” Barnes explains. The collective take their name from a Burroughs poem, and this should give you some indication of the squalidness of their work. The latest release from AoN, for example, is an EP entitled “Alive with Pleasure”, which, according to their Bandcamp, "attempts to show the true emotional side of lust." The EP itself lifts its name from a condom advertisement, and takes issues like premature ejaculation as its subject matter. 

When pressed on the concept behind the 'Alive with Pleasure' release, Barnes muses; “I have always found hooking up a sort of Russian roulette. You basically judge someone on purely aesthetic qualities then take a leap of faith, and you do all this because you have a hormonal or social drive to do so. Most songs about making love and romance are contained in a certain style and sound, but for me there is no music about the dirty side of love. I find darker music suits these emotions better. The concept for 'Alive With Pleasure' was to try capture this cluster fuck.”

He isn’t kidding. Lofthaus’ productions have a notably disquieting, seedy quality to them. ‘Alive with Pleasure’, for example, opens with a dialogue from an 80′s porno. “Sexuality is one of the strongest forces in the Western world.” Barnes continues. “You need to look no further then companies making bikinis for six-year-olds and offering cut-priced Brazilian waxing to early teenagers. Look how they market pop stars to kids. It’s pretty disgusting, but oh so brilliant.” 

Lofthaus have extended these concepts into the latest installment of our podcast series. The mix itself runs through three acts; from soundscapes to warehouse techno to degraded noise. Indeed, this narrative is intentional, as when we first began discussing the idea of a podcast, Barnes formulated the concept; “I find when doing a mix if you aren't playing to anyone at the time its hard to keep focus, so I like to have something to score or an idea to follow. We came up with the idea for this mix to kind of reinforce the idea of the EP in some shape; ‘a drug fueled one night stand - from surprise to accomplishment to shame’.” Listen below. 

0050 // Lofthaus by Stray Landings on Mixcloud

[straylandings]

Retina.IT // De Occulta Philosophia Vol. 1

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Label: Semantica

Format: 12"/Digital

Release Date: 07/04/15

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Retina.IT have had a strange relationship with the public. Never been a true household name yet not completely estranged from the spotlight either, the novel nature of their work has earned them slots alongside the likes of Kraftwerk and even an appearance on MTV. But their presence in recent years seems to have evaded the public eye, and the duo are long overdue for commemoration.

Since the infancy of the project in the mid-90s, Retina.IT have grounded their work in analogue hardware. This gives their sound a rich, sturdy quality, but there is also a clear ‘live’ kind of feel to it as well. You can hear each composition unfold at a natural, organic pace. Take ‘Logos’, for example, with its proliferating layers of fractal patterns. Or the corporeal hums of the EP’s finale, ’Aesculapius Dreams’.

Let’s take a step back for a moment to admire the audacious title of this EP: The Occult Philosophy. What on earth could this refer to? The spirit of their musical ethos? The transcendental nature of music itself? The sound itself does have something inexplicable about it. The synths feel familiar and recognisable, and yet the grooves are unmistakably modern. Indeed, for all their linkages to the past, Retina.IT remain a contemporary outfit. Their last EP, ops_ci was available on cassette - which has become an ironic emblem of stylistic modernity in 2015. The EP also has clear nods to Rrose, Demdike Stare and the Stroboscopic cohort, who also seem fixated on occult aesthetics.

What we have here is not a relic from the past but something from pioneering musicians with years of practice under their belt. The most important thing is that they are still looking for ways to mess with our expectations.

Words by George McVicar

Retina.it – De Occulta Philosophia Vol.1. SEMANTICA 71 by Retina.it

[straylandings]

0043 // Exos

It might not be the first place you think of, but on consideration Iceland has had a pretty rich history where electronic music is concerned. Of course it’s been responsible for titanic names such as Bjork or Sigur Ros, however the scene extends far beyond that. Arnvidur Snorrason, aka Exos is one who has witnessed its evolution, pushing a broad spectrum of techno since the late 90s. When we caught up with him ahead of his performance at Fabric on the 11th, he was optimistic about the current state of the Icelandic scene.

“Techno in Iceland is like the weather - it changes very fast” he considers. “Sometimes I can get away with playing really banging techno in our local clubs and people love it - other times they are not so ready for it. But I think techno has risen in popularity all over the world over the last few years - you don't have to feel like an outsider, like it used to be. We have a lot of very talented DJs and artists in Iceland and a very open-minded electronic music scene in general.”

In his own career, Snorrason has come to be one of the most respected figures on the Nordic techno circuit, mixing rugged analogue jams and glacial dub-techno with the kind of skill that can only be obtained by years of obsessive practise. Although this might suggest he was to some extent born to do it, Snorrason insists his career path wasn’t actually so straight forward. “I never decided to become a DJ” he states when asked about his formative years. “I’ve been a music freak since I was a child - my father was responsible for that. He showed me everything from African music to bebob jazz, and by the age of four, I was translating lyrics by Grandmaster Flash. I began to DJ at my school at the age of 12, and it's continued ever since... I began producing when I was 16, when my dad bought me some gear back in 1996. We made some really deep sounds - before that I was a drummer. Then after a few years of making music I began releasing on Thule Records and Mosaic.”

Having recently put out a remix for Allen Saei, aka Aubrey, 2015 looks to be a busy year for Snorrason. Alongside a reissue of his ‘Q-Box’ EP on Thule, his LP My Home Is Sonic is set to be re-released on Delsin, and a track written with Nina Kraviz entitled ‘No Criminals’ will also be released through Kraviz’s label Trip in the coming months.

Despite his regularly touring, April’s visit will be the first time Snorrason has visited London’s Fabric nightclub, however it certainly sounds like he’s planning on making the most of the trip. "I have heard it has one of the best sound-systems on the planet and I am definitely going to test that out. I’ll be playing a mix of vinyl and CDs - old and new music and a lot of unreleased stuff from my homeboys in Iceland - Thor, Introbeats, Oculus and myself.” 

His mix for us provides a taster of what can be expected at the Fabric appearance, covering an hour and 40 minutes of house and techno, becoming progressively more wild and untamed as the mix progresses. 

No tracklist available.

0043 // Exos by Stray Landings on Mixcloud

[straylandings]

Mogano // Sycomore EP

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Label: Aboretum Records

Format: 12”/Digital

Release Date: 14/04/2015

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Most records struggle to stand out in the way that Drøp's 2014 'Vasundhara' EP did. Lurching broken-beat rhythms cut between churning noise, experimenting with rhythm and texture in a way that felt fresh and unchartered. To top it all the release was rounded off with a gorgeous screen printed sleeve - like a cell under the microscope, magnified with absolute clarity.

The imprint responsible, Aboretum, have finally got round to releasing their second 12". This time label head Marco Berardi aka Mogano is the author of the tracks, bringing something of the celestial to the label's abstract brand of techno.

The 'Sycomore' EP is laced with eastern timbres, sweeping cinematically between Berardi's off-kilter drum patterns. Take opening track 'Retama'. Drenched in echo and reverb, a haunting string motif dances hazily between the track's ambling, sparsely placed rhythms. 'Anunnaki' picks up pace considerably, whilst still following a similar format. The drums here feel more muscular and cemented, yet the wave of ringing steel pan atmospherics still refuse to give way under Berardi's thundering toms.

Downwards signee Samuel Kerridge's interpretation of the track on the other hand belies anything previously recognisable. It is 'Anunnaki's snarling, devilish cousin - sounding as if it had been spat from an exhaust pipe, blackened by smog. Kerridge's warped vocal textures and steady motorik drum patterns vaguely recall the likes of Throbbing Gristle or The Normal, bringing something of the noisier sub-sects of the new-wave scenes to the platter.

The climax of the release, 'Sycomore', comes right at the end as you might expect. What you might not have expected however is the sheer force of Berardi's closing offering. The track is not listened to so much as felt - sub loaded kick drums pummelling the listener into a state of submission.

Aboretum have had their fair share of problems when it comes to pressing records. The latest release follows around twelve months after their debut by Drøp - delays with their pressing plant leaving the label with a tortuously long wait between releases. With this in mind, the release of Berardi's 'Sycomore' EP is all the more gratifying, taking on the feat of matching the first record's dizzying quality, and doing a fine job of it.

Words by Theo Darton-Moore.

[straylandings]

Bloc Festival, Minehead. 2015

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Butlins has had somewhat of an unlikely affair with electronic music festivals. Hosting parties such as Bangface on a regular basis, the comfort of sleeping in a chalet is tempered by the fact the event stages fulfil roles as bowling alleys and bingo halls as their usual functions. This provides an almost postmodern joke that underlies a festival like Bloc; putting brooding artsy electronic music in close proximity to dodgems, fairground rides and crazy golf courses. But if you can get over the challenges of trying to dance on beer soaked, technicolour 80s carpets, Butlins can be a pretty entertaining setting for such events. It can also be an important grounding experience; no matter how profound the music might seem, don’t forget that you’re essentially in a big arcade. 

Compare that to the event at Pontoon Docks in 2012. A sense of anger and confusion rippled through the festival as rumours of overcrowding and imminent closure start to emerge on Twitter. ‘That’s it’ people said; Bloc is over. As much as that was a pretty disastrous event, its tedious to keep bringing it up. Through a series of one-off parties at Hackney Wick’s Autumn Street Studios, Bloc have managed to recover their reputation to the point of being able to throw another full-blown weekender at their former home in Minehead.

Alongside returning to Butlins, the bookings felt like Bloc had also made a return to their former sonic roots. Where the Pontoon Docks event felt quite diversified with acts like Steve Reich, MF Doom and Snoop Dogg, this year featured a canalised line-up of almost exclusively electronic acts. 

Stroboscopic Artefacts signee Donato Dozzy was one of the first to play, opening the weekend with thumping, Chicago-influenced warehouse techno. I had expected the earlier sets to take a more subdued approach - easing the audience into the weekend’s proceedings. Yet the no-nonsense stomp of Dozzy’s assorted dance-floor selections against a backdrop of glaring strobes provided a refreshing but intense opening to the weekend. Livity Sound’s abstract mix of grime & techno followed, as Peverelist, Kowton & Asusu showed a mastery of live FX processing and stuttered drum programming.

Some stages were subject to sound issues - Hessle Audio’s set, for instance, was plagued by crackles and volume flux. Having been one of the first labels that we truly loved, Hessle’s presence is always welcome at these events. They’ve done their time, and now they facilitate a space for newer acts to fill. ESG also fell victim to technical issues - the cavernous setting didn’t lend itself well to their intricate percussion, and the Soul Jazz Records signees had to battle against crowd chatter. 

Dean Blunt  The Carhartt stage had arguably the best sound of all the stages, and perfectly accommodated Akkord’s formidable half-step techno. Synkro’s background in D&B was audible as ever through the set. Warped breakbeats snaked across the stereo field with clinical precision. Afterwards we sit watching the French Sci-Fi ‘La Planet Sauvage’ in the main pavilion, when two notably floaty individuals approach us. “Can you roll us a joint?” they ask, “we’ve taken too much acid”. They follow us to Call Super and the tight, Krautronic bleeps set them off into a swaying trance. The main stage culminated with Karenn’s pulsing warehouse jams. The novelty of seeing an entire table of drum machines and FX will likely never ware off.

The dualism between the brooding music and budget family holiday setting was perhaps most baffling during Positive Centre’s set at Bloc’s rather aptly titled ‘Pub’ stage (it is literally just a pub). Having previously seen Jefford in an abandoned power plant, shoulder to shoulder with legions of black-hoodie clad techno goths, his meditative blend of drone and techno didn’t seem quite right at two in the afternoon in a building styled like a smaller version of my local Wetherspoons. This said, the setting didn’t get in the way of Jefford’s expertly executed set, providing plenty of bass-weight for those who still managed to stumble to and fro after the previous night’s events.

Luckily, Young Echo’s Vessel didn't suffer the same fate, setting the standard for the rest of the day at a dizzying height. The Bristol based artist shifted daringly between various nightmarish scenarios; from abstract electronica and mangled post-punk breakbeats to squealing noise and spatial krautrock synth jams. The performance felt expertly planned, and yet there was also a natural, improvisational quality to it as well. As Gainsborough cut sharply to silence at the end of the performance, the audience seemed stunned for a few seconds before ubiquitous cheers of appreciation filled the room. 

Moritz Von Oswald Trio After Vessel’s rushingly intense performance, the mellow dub jams of the Moritz Von Oswald Trio seemed all the appropriate. They acted as a kind of palette cleanser with clean, calm, downtempo grooves colouring the mood of the room. Without Sasu Ripatti at the helm of the percussion, the trio lacked a certain tightness. Yet I felt a certain allegiance to the group; here was a band who had essentially started a whole new genre; taking the dub techno model to a jazz set-up.

We can thank Helena Hauff’s hectic array of drum machine patterns and electro for setting the festival back into full swing. After beginning DJing in Hamburg a few years ago, Hauff has built an international reputation for playing an extensive variety of music that goes beyond the polished sound of most house and techno prevalent throughout the festival. We were treated to entire libraries of dance music, and her masterful control of the decks seemed to awaken many of the festival goers from their lethargic slumbers. One of the most anticipated sets of the weekend came from Dean Blunt, whose intriguing personal and artistic life is enough to bring crowds from all backgrounds. The cap and moustache combo, his personal bouncer on stage and his stark vocal style have all contributed to his ‘outsider’ persona, and for those looking for some weirdness in his set would not be disappointed. For almost ten minutes, the set opened with a repeated loop from an interview from Khalid Abdul Muhammad that read “the white man’s world we feel is coming to a close” over the sound of avalanching rubble. From there we were treated to a series of broken ballads, half tempo and distorted, before an epic 20-minute interlude of harsh strobe lights and white noise. As Blunt left the stage, there was an enormous sense of confusion on the faces of the audience members. “What just happened?” I heard someone say, as we all came to. 

Since winning the Mercury prize, Jon Hopkins has enjoyed a level of success that is usually only reserved for acts who have working for decades in the scene. The fact that he occupied a slot directly before Autechre probably says more than anything else. The juxtaposition between the two performances was staggering, almost ludicrous. Where Hopkins' hyper-polished, dancefloor electronica worked into a comfortable 4/4 rhythm, Autechre's two hour assault of battering low-end and circuit bent percussion was nauseatingly intense.

Where Hopkins’ accompanying visuals could've been pulled straight from an Vans advert - skateboards, sunsets and so on, Autechre switched off all lights for their entire set, plunging the Main Stage into darkness. You could call Autechre’s set breakbeat or glitch, but the tempo modulated to such a degree that catching the rhythm at any point was a near impossible task. Autechre don't agree to gigs regularly, and the Bloc appearance showed that when they decide to, they do things properly. With no lights, rhythmic repetition or even melody of any kind, there was nothing tangible to cling to in the entire set. A quick survey of the audience saw a sea of people completely spellbound - all with heads down and eyes closed.

Having seen more than enough fists pounding to techno kick drums, Sunday finally opened itself to some variety in its selection of dance music. Seeing as Bloc was already a huge nostalgia trip it seemed only right to dive straight in to a tribute to the old school jungle sound with Doc Scott, Raime and Ben UFO reviving some of the grittier roots of UK underground music. The true hero of the night was definitely MC GQ, animating the crowd to the most beautiful peak at the top of which was Dillinja. Certification, as if any was ever needed, that jungle is massive.

With a day almost entirely dedicated to throwback jungle, one could argue that Bloc have lost some of the forward-thinking ethos that they were once known for. Indeed, Bloc feels like a work in progress in some respects. There have been reports of heavy-handed security and gender disparity in the line-up. These are issues that must be resolved if Bloc wants to stabilise itself for future events. But the passion is there, and the crowd show every level of enthusiasm needed for its rehabilitation. Words from Theo Darton-Moore, George McVicar and Jo Kali. 

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Grind Analysts // Fig.1

Our debut 12" comes from Japanese sound-artist Yu Miyashita/Yaporigami. We first became aware of his work two years back, upon the release of his stunning Sync/Body collaboration with visual collective BRDG. His blend of atmosphere rich sound-design and fragmented techno felt distinct and refreshing. After contacting Miyashita and arranging a mix/interview feature, we quickly realised that his work was some of the most unique music we had heard in some time, and decided it needed to be exposed to a wider audience.

This EP, 'Grind Analysts Fig.1' sees the union of Miyashita's two projects; the a-side being occupied by the relatively dance-floor centric tracks he crafts as Yaporigami, whereas the b-side is reserved for the haunting atmospheric soundscapes he composes under his birth-name. 

Included with the 12" we have also put together an accompanying booklet, seeking to reveal some of the processes we went through when making the record. It features an interview with Miyashita, as well several labels and artistic collectives (including BRDG) with which he has worked closely over the last few years.

'Grind Analysts Fig.1' will be available as part of a limited 100 copy vinyl run from early April, and digitally shortly after.

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Self-Exploration: Appleblim Interview

Laurie Osbourne aka Appleblim has one of those faces which has become synonymous with late-noughties dubstep. Co-founder of the legendary Skull Disco label alongside Sam Shackleton, Osbourne is also owner of the Apple Pips label, and has been a fixture at some of the most important nights in dubstep, such as FWD>> or Scuba's Sub:stance.

In the production world, Osbourne has been a frequent collaborator, appearing on records with the likes of Ramadanman, Komon and Gatekeeper, garnering attention for his off-kilter drum programming and dub inflected synth-work.

With a new collaboration on the horizon this time with Houndstooth favourite Second Storey, we decided to catch up with Osbourne, to discuss his upcoming performance at Bloc festival, studying at Bath Spa, and what's next in store for the now London based artist.

The first time I saw you play was back in 2010 at Berghain's Sub:stance night just when Berlin seemed to be getting steadily into Dubstep. Do you think your approach to DJing has changed much since then?

Hmm not really, I mean I try to be as eclectic as possible these days, within the context of the event. I wouldn't start dropping prog-rock at Rinse.fm at MoS, however I will play Grime, House, D&B, Electro, Noise etc. That stems from my experience warming up at FWD>> or Sub:stance being given the freedom to play with people's heads, playing some quite ambient/sparse music on a massive soundsystem or even some jazz is a great experience all round. My mate Gatekeeper put it well the other day, you have to remember that essentially you're getting to hear a load of music you like really loud on a good soundsystem. The enjoyment of that should be the start of any vibe at a DJ gig.

You're making an appearance at this year's Bloc – you've performed at the festival before right? How were the previous experiences and what can we expect this time round?

Well there's quite a few different snapshots - the first time I played was as 'Skull Disco Soundsystem' with Necta Selecta, Shackleton, and maybe Pev too. The response was brilliant, I mean it was in the pub bit of Pontins which was great - like an episode of Phoenix Nights or something! It was very sweaty, people were climbing on the speakers and the stage - proper shirts off raving. I remember tunes like 'Roll With The Punches' by Peverelist getting pulled up! That was exciting as it was the first tome I'd seen music made my people I know illicit such strong responses, very exciting and one of the major buzzes of being involved in music. Then I played for Subloaded on their stage at Bloc a couple of times. Always great vibes, getting Crazy D hosting, or Dread MC, or Sgt Pokes - these were great hosts and it's such fun to play crazy new rhythms and watch them react...

You've done a fair few different 12”s with Komon over the last couple of years – how did the two of you first meet? What do you think it is about the collaboration that works so well?

We met through Wedge/Bleecker and Addison Groove/Headhunter. Him, Tony Addison and White Boi used to do a show on a pirate station in St. Pauls when it was still pretty gully around there, so we went and played on that, and they played on Wedge's Sub FM shows. Friendships were formed - Komon helped us move house from Bath to Bristol when we barely knew him, testament to his nature! Anything new in the pipeline for Apple Pips? You had an amazingly fruitful year in 2013 with six different releases, why the break over last year?

Life man! I've moved back to London, and have been concentrating on my own work in the studio which is finally bearing fruit. Apple Pips will definitely be back this year with both some solo and some collab work... I've got a lot stockpiled which I'm actually really happy with so that's good.

I looked at the same course you were on at Bath Spa (and really regret not taking the position!) How much of an influence do you think the course had on you in general? Were you producing much before?

I wasnt producing at all, so really it formed me entirely, but it was the combination of both the course, the other people on the course, my producer housemates and having the time and space to start the Skull Disco label. All that combined... but the course definitely made me think about music more deeply - it helped me see it's potential, to see that all sound can be music. It also developed my love and respect for experimental music.

What kind of thing were you listening to growing up? Was electronic music always the focus?

Well pretty standard white-middle-class-male listening I'd say! Hip-Hop, Pop lots of Indie and noisey guitar music. I was a real NME reader and actually found a lot out about stuff like the Ragga Twins, Shut Up and Dance and Autechre through the NME. Also the rave era was happening when I was at school so tapes were going round - Colin Dale, Colin Faver, Top Buzz, Easygroove etc. I went to my first rave in '92 at Hypnosis with Sasha, Jumpin' Jack Frost and Njoi all on same lineup!

Have you noticed much of a change in the Bristol scene over the last few years? There still seems to be a lot of interesting things going on in the city although the focus has changed somewhat – any producers/collectives in particular you have been keeping tabs on as of late?

Its hard to say because 'our music', the bass scene or whatever you want to call it, definitely refracted and after Pinch stopped doing Dubloaded. It definitely felt that house was taking over a bit. Of course you had Young Echo and so on who did great experimental nights at their studios which were ace, but these were much smaller nights than the 1000+ raves Pinch was doing at one point. I'm sure there's tonnes going on under the surface but I'm less in touch as I have been doing much more inward looking self-exploration on my own vibe in the studio, rather than going out raving or DJing recently.

There's a great new night back on at the Old Croft called 'Who Cares' which is a core of people from the bass days plus some others who wanted to bring back the vibe of Dubloaded - midweek, positive vibes, and they do a cool thing where there's a bunch of residents like NY Transit Authority, Jus Now, Break, Addison Groove, Joker and so on, and then they get one or two secret headliners every time as well. It's great to see new people in Stokes Croft catch the inclusive and positive vibe of these DJs and musicians, it's a real Bristol family affair...

You've talked quite a bit about your formative years playing FWD>> nights at Plastic People, how did it feel to hear about the club's closure?

Very sad but I bet they do something else. To be fair i think they struggled with the sound restrictions, and maybe it's good to move on and try something new...

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Reeko // La Metamorfosis Part. 1

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Label: Mental Disorder

Format: 12”/Digital

Release Date: 02/03/2015

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100 years since the publication of the chilling and brilliant novella, we are still unpacking Kafka’s ‘The Metamorphosis’. From Cronenberg’s ‘The Fly’ to R. Crumb’s graphic reimagining and even an appearance in The Simpsons, the angst and horror of The Metamorphosis never seems to leave our collective unconsciousness, no matter how many times we try and exorcise it. The latest instalment of these recurring nightmares comes from Asturian-born producer Reeko, this time bringing the anguish of Gregor Samsa into the world of brooding techno…

The EP opens with a soft, icy pad, enveloping the stereo field like a giant white sheet and framing the mood of the whole release. This functions as a kind of modern equivalent of tuning an orchestra; wetting the sonic palette and teasing out the flavours to come. We then have three movements; ‘Capitulo’ I-III, and with each new act a new dimension to the plot is added. I moves at the earthy, subterranean level, grounding the subs into immovable foundations, whilst II pushes things further into more technical and trippy realms. By the third act, we are in seriously avant-garde techno territory, and this is the highlight of the release for sure.

Indeed, by the final track, the record has undertaken the kind of drive that we find in Kafka’s Metamorphosis - there is no real release or escape from its dynamic push, and instead every track insists of piling on more and more intensity, like a never-ending roller-coaster that can only go up… But it’s worth pointing out here that this is but part one in a two-part series, the second half of which is expected to come later this year. With this in mind, the EP (or half-album) should perhaps not be considered as a distinct, discrete whole, but rather as mere hint at more to come soon. If this is anything to go by, then part two is going to be fucking mental.

Words by George McVicar

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Jay Clarke - First Flight EP

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Label: Blackaxon Records

Format: 12”/Digital

Release Date: 15/12/2014

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Better late than never so the idiom goes. Jay Clarke’s debut on his own Blackaxon label at the end of 2014 saw the London based producer step up in assured fashion to release his own material. Productions aimed firmly at the dancefloor with enough style and melodic nous to set it apart from your typical white label debut. Having had support from some of the most noted DJs in the world for his productions (early fans including Ben Klock), the 'First Flight' EP sees Clarke finally stepping out with some strong, faultless music of his own.

'The First Glimpse of Light' starts the EP off with smouldering rhythms, weaving expert grooves and muffled textures into something truly danceable. This is subtle and engaging dancefloor music, Clarke’s ability to build tension and string loops into tangible, lively rhythms demonstrates his skill as a producer and perhaps belies his anorak-like knowledge of the genre. 'The Black Lodge' clatters along in a similarly reverb soaked fashion, although the intensity here is paired down to give more space for the whirling atmospheres and jackhammer percussion peeking through the mix.

The stand out track is undoubtedly 'Vanishing Act' however - it is quite frankly a dancefloor monster. Its unsettling melody drives deep kick drums along a compelling and twisted path. Just as you get used to the jagged melody Clarke switches up the progression leaving small moments of dissonance as the chords change, it’s an incredibly successful technique that leaves the listener in twists and knots.

Jay Clarke has been a pretty well-kept secret until now; perhaps only familiar to those in the know across the London Techno circuit. Having been a resident for the popular VOID party at Brick lane’s Café 1001, it's nice to see Clarke’s enthralling take on dancefloor techno finally getting a proper home. The launch of Blackaxon sees him take complete control over his own output, and with a string of releases in the pipeline for 2015 we should be seeing a lot more of Jay Clarke in the coming months.

Words by Sean Hughes.

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Donor // Against All

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Label: Prosthetic Pressings

Format: 12"/Digital

Release Date: 02/02/2015

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New York based producer Greg Schappert, aka Donor is perhaps best known for his forbidding analogue experiments with Truss (or MPIA3). Their joint efforts have seen a healthy release catalogue develop, the combination of their slightly off-kilter approaches to techno resonating with those looking for something more raw and adventurous.

Recently however, Schappert’s efforts have set on producing his debut LP, Against All. This is an album with which he seems to have pinpointed and amplified those factors most defining of his previous work.

Arguably, Against All’s greatest forte lies in it’s ability to remain club-ready whilst still providing something of the unexpected. Perhaps this is down to Donor’s deviation from conventional 4/4 percussion. ‘Fault Is Found’ or follower ‘Own Exile’ calling to mind Objekt’s frenetic percussive workouts with their close-knit kick patterns and nagging hi-hats. ‘Menace Is Mine’ is similarly abstract in its approach, exchanging snares for rasping breath-like textures, indistinct and mechanical alongside Donor’s rumbling drone of low-end.

His unremitting use of sub-frequencies is another constant throughout the LP. Even those tracks where penetrating kicks seem to be the driving influence - they are often forced to blast through a wall of similarly resounding bass textures. ‘Calling’ sees this technique used in the most extreme as the track rises in intensity with the aid of Donor’s swarming percussion and vapourous soundscapes. In other places the effect is put to more subtle use - ‘Station A14’s stuttered kicks rolling between resonating high-end and sidechained low-end, swelling ominously.

An interplay between dense rhythms and thick, fog-like atmospheres has been a constant of Schappert’s work until this point, giving his releases a disorientating, claustrophobic aesthetic. This signature has been delivered with great skill and creativity here, Against All aligning a range of different approaches to techno with rare grace.

Words by Theo Darton-Moore.

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0042 // Marreck

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Last week we caught up with Michael Hann, the man behind the mysterious Marreck moniker and head honcho of the nascent Reject and Fade imprint. This article comes in the light of his latest LP Ceteology, which was recently released on the criminally overlooked Irish label Trensmat Records. Hann should feel right at home at Trensmat - a label that has held tight to the pillars of experimental music: brave, daring and radical, both Trensmat and Hann's Ceteology LP capture the essence of noise music and culture in its purist form. 

We first became aware of Reject and Fade through the brilliant rkss release Tunnel - out on cassette last year. "Robin is cool as cucumber and deserves a shout out every time!" states Hann. "In the mix I have also dropped in a few demos, as I thought it would be cool to drop in stuff people haven't heard and who are or are likely to be releasing stuff soon on Reject and Fade. I am being a little non committal as I am not planning on releasing a lot via RnF (maybe only two to three releases a year), so a lot can change between now and whenever. Ideally I would like each release to have a sense of occasion about it and leave people anticipating and hungry for what is coming next."

Reflecting on the release of Ceteology, Hann has compiled a mix of the influences surrounding the record, "I kind of put a constraint on myself that I could only use music which I had been listening to when I was making the record but also I didn't want to chuck in some of the obvious references such as Drexciya" he explains. "I decided I would only use music which I took away with me when I went off to work offshore. What you have here is what I was listening to when I was in between work, thinking about home/trying not to think about home, flying backwards and forwards and: voila..." 

Tracklist:

Raime // Your Cast Will Tire [Blackest Ever Black] rkss // Rain [Unreleased] Jo Johnson // In the Shadow of the Workhouse [Further Records] Granite Portal // Scavenger Hunt [Unreleased] Swans // Toussaint Overture [Young God Records] Shifted // Burning Tyres [Bed of Nails] Blood Room - Quell [Unreleased] Wizard Of // MirrorExit [Unreleased] Marreck // Octavo [Trensmat] Nick Cave and the Bad Seeds // Push the Sky Away [Bad Seed Ltd]

0042 // Marreck by Stray Landings on Mixcloud

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Stave - After The Social

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Label: Repitch Recordings

Format: 12"/Digital

Release Date: 25/02/2015

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Jonathan Krohn has achieved rather a lot over the last two years. He debuted as part of the duo Talker (along with Karl Meier), releasing both an album and EP of industrial, noise ridden techno.  Solo, his sonic standpoints are similar. Under the name ‘Stave’ he has put out two further works , both with comparably brooding aesthetics. Following suit is his most recent release, 'After The Social' which feels as if it's been composed with little more than a bass guitar and an oil drum. It has a gritten, sandpaper like quality to it - like two bricks disintegrating as they are scraped against one another.

Despite it’s rugged texture, ‘After The Social’ maintains an amphetamine charged level of energy. ‘Hardened Chord’ for example thunders forward from it’s first second - like a greyhound loosed from the stalls. Like much of Stave’s EP, the track is essentially loop-driven, which seems an odd approach for a set of tracks so richly textured. The technique is usually reserved for more overtly functional techno, yet here it adds nicely to Krohn's droning soundscapes.

The tracks smoulder intently - like Sunn O))) with a pulse. They crackle wildly as they are repeatedly barraged by fuzz and distortion. ‘Circle Pit’ lets out tortured screams above an abyss of bone-shattering sub, rumbling forcefully and incessantly. ‘Paid Jazz’ offers at least a degree more dynamic. Its intro gives the listener a few seconds to gather breath before thundering back to a cacophony of rattling bass and thudding snares.

Karl O’Connor alleviates nothing by way of intensity across his spartan take on ‘Hardened Chord’ - brazen 4/4 kicks hammering beneath rumbling percussive flourishes. He does take pains to construct some shifts in dynamic and intensity and intensity however. The track develops with slow menace - in line with the Sandwell District signature sound which has made his previous productions so influential.

'After The Social' is full-throttle, and on the surface makes little concession for subtlety. After a few listens it becomes clear where the EP's real beauty lies however. Despite the lack of breaks or intro sections to the tracks, Krohn's detailed nuances give the release a wild, untamed feel, which is hard not to be affected by.

Words by Theo Darton-Moore.