Preview: HES019 - Objekt - Cactus / Porcupine

Much awaited return for Hessle Audio - the label everyone's been talking about. It's been a dreary 9 months since Ben Ufo, Ramadanman and Pangaea, last managed to squeeze some record pressing in their overcrowded schedules; 9 months which translated in just enough time to pour the foundation and build up the hype for HES019 - Objekt's contribution.



If you live in a cave or you just can't get your head around using the internet properly, you most certainly have no idea who Objekt is. A fella who lives in Germany, DJs in the UK, has remixed SBTRKT's Wildfire, builds tunes somewhere inbetween Techno and Bass Music (yes, we intentionally avoided the use of the term Dubstep) and loves to put them out on limited hand-stamped white labels (which apparently serve a purpose both as records and hipster food plates as well...so we've heard). Anyway, no diss involved. We've identified him as a meticulous and inspired producer ever since Tinderbox got a release out of nowhere; and apparently so did Hessle's A&R.

The two tracks that hit the virtual friday shipping shelves on Feb. 6th however, despite sharing more boldness and freshness than everything on the H.A. catalogue (except for Untold's Anaconda and Joe's Claptrap) and despite being A-class productions, as a whole just don't seem to be raising up to the expectations.

For the past couple of months I've made a mission out of understanding the hype surrounding Cactus. No result. I tried accepting it and giving it some credit for what it's got: an unbelievably well structured spaced-out percussion, some serious tweaking effort behind the lo-range wobble bass concerto and on-point / on-target breakdowns and drops. All of this even though I'm not really vibing to it.

To be honest, I realised it's all a matter of quality. On its own Cactus is a decent track. Well build, has the potential to be a club banger if dropped at the right time, in the right place and for the right people. It's surprising enough, it comes from one of UK's finest labels, it gets air time on Rinse from the likes of Ben Ufo or Oneman, it's broken enough, it's bassy enough and it's made by a guy who owns a weird haircut.

To be brutally honest, I also realised it's nothing more than a matter of vibe and how and when you were introduced to this particular sound. If you just came in through the front door (and the front door has James Blake's and Blawan's names written all over it) Cactus will probably deliver a full-on revelation. And it deserves to be appreciated for that. However, if you were buying Pinch's records on Planet Mu and Tempa in 2008-2009 or you've heard Spiders on Brainmath...not so much. Simple as that.

Objekt - Cactus / Porcupine

The flipside manages to save some (most of the) interest. Porcupine tends to forget about pleasing broken-beats munching, Brainfeeder listening fellas out there and delivers a far more interesting approach to Techno (?!) and the sort-of Drexcyian aquatic Electro derivations that turned the whole Bass Music world upside down last year. Lots of acid synths usage and a punching linear drumline topped by a fully oxigenated Echospaced breakdown that would make Appleblim and the lot shove two fingers in their mouths and whistle their lungs out.

A good DJ tool that acts like a riddim transfusion in pretty much any circumstance one could possibly think of.

Even though it's part of a sound we've kept hearing for the past 12 months, the track resonates quite well with the direction Hessle adventured in by putting out Pangaea's Inna Daze and Pev's Dance Till The Police Comes last year. Something that sits much closer to Hessle's brand new, post-Joe self-imposed quality standard.

So, to draw up a couple of conclusions:

- Decent debut outside the white label world for Objekt.
- Decent release for Hessle. Not great. Not outstanding. Decent.
- If you're a DJ and you're not 16; keep supporting the label. Buy the whole record. Spin just one half (the one that doesn't have Cactus on it).
- I'm probably gonna end up spinning Porcupine out there myself.
- And please nod and agree that Hessle needs a new Joe release.

Friday shipping for Monday delivery on Redeye Records.

BASICS Podcast 012 - Alexandru Jijian

There’s a certain gentleman lurking around the local Techno scene, we’ve been taking interest in even before BASICS was born. He’s got quite the interesting performances list so far, alongside the likes of Jeff Mills, Miss Kittin, Chris Liebing, Pantha Du Prince, Lawrence, Alex Under or even the less-conventional Fantastic Mr. Fox & Svetlana Som Sistema and according to himself plays “music for the mind that lives in a dancing body”.



Alexandru Jijian is our 12th guest in the podcast series and believe us, there’s much to learn about what proper deep, dark & deadly 'floor music means from his set. Of course, we’ve also taken the liberty to ask him a couple of questions that aim to sort out some of his views for the wide audience.

Tracklist:

01. Basic Channel - Radiance II [Basic Channel]
02. Fatih Tuter - Untitled [Shoreless Recordings]
03. Guido Schneider - Moesko [Poker Flat]
04. Theorem vs. Swayzak - Devil Of Rotations [M_nus]
05. White Label - White Label [Promo]
06. White Label - White Label [Elektro Music Department]
07. Frozen Border - 4.01 [Frozen Border]
08. Horizontal Ground - Thirteen Step [Horizontal Ground]
09. Szare - Action Five [Idle Hands]
10. Sascha Rydell - SR2 [Fachwerk Records]
11. Traversable Wormhole - Superluminal (Sleeparchive Remix) [CLR]
12. Gonno - ACDise #2 (Skudge Feels It Version) [International Feel]

DOWNLOAD (via Sendspace - available for 30 days)

Knowing Alexandru Jijian:

BASICS: First of all, where did you come from, musicwise? Your sets tend to leave an impression that there’s quite an interesting listener behind your DJ persona. Take us through your history a bit.

Alexandru Jijian: I think I’m a regular guy amongst my friends. I just have a taste for electronic music, I’ve always had. I can’t really say how much or what I’ve listened to in particular because I’ve always been open to hearing new sounds, you know, forever searching for something new and all that bla bla. What I can say is that I’m quite the geek when it comes to music history: I’ve been through most of what should be listened to at least once in a lifetime.



B: I know there is a number of specific sounds you like as a DJ, ranging from experimental bits to quite ambient-ish stuff to synth-driven weird-you-out and serious warehouse Techno. Which one of these are you most at home with?

A.J.: All of the above. The last couple of years I’ve been mainly into Techno but I guess that’s what I’ve always been into without really knowing it. (Autechre, Clark and all the other Warp Artists which I love).

I am, however, taking the liberty to underline a misconception which I don’t like: people or friends have a tendency to tag me with the Techno stamp and, although that’s what I’m most confortable with, I’ve always considered myself more of a Music Lover more than a Techno Head. This is why I will play House or what not if the time is right.

B: A bit of reflective talk. I’m curious about the philosophy behind your sets. Expecially now, at a time when the crowds seem to get moodier and harder to drag in and please each week. Who do you play for and why?

A.J.: I play for whoever comes to hear me play. I do it because I don’t feel at ease until I share the music I love with the other music lovers and party goers such as myself. I like longer sets with slow warm-ups. 3,4 hours up. Gives me the time to get to know the people in front of me better (and vice-versa, of course). To infinity and beyond!

B: I know you have quite an alternative vision on how a healty electronic music scene should look like. I won’t get into what’s good and what’s bad inside the current state of affairs but I’m quite interesed to see how this ideal of yours looks like. If you’re willing to share.

A.J.: I miss The Web Club very much. That’s all I have to say.

B: You’re an avid party-goer as well. You’ve always been. I’m curious, besides Techno and sounds you’re familiar with, what gets you dancing in a club?

A.J.: I’m actually a very big fan of Drum and Bass. I’ve been to Dub Mafia and LTJ Bukem and MC Conrad recently and had a BLAST! Really good, good times man!

B: Small club with an intimate vibe and a „close to the people” feel; warehouse, Funktion One and a massive 2000+ crowd going absolutely mental or studio / radio session for some hundred listeners? Which one suits you the best?

A.J.: The fun I had at the radio definitely has to happen again. I have to choose massive crowd going mental, who wouldn’t want that?

B: From the top of your head: best gig you’ve had so far and a fictional line-up you’d really love to be a part of?

A.J.: Best gigs actually: The Closing Set I did for Jeff Mills and Miss Kittin at Arenele Romane in 2010 / The 6 hours set I did in Raum (Cluj) at an afterhours in December 2010.

Best fictional line-up: Boards Of Canada, Aphex Twin, Plastikman and in the morning a concert with Sebastien Tellier.

B: Are there any „most played tracks” for you this year? Fresh stuff you’ve really been vibing to? Both as a DJ and as a listener.

A.J.: I’ve played a lot the stuff from Horizontal Ground, Frozen Border, Stroboscopic Artefacts and Prologue. Vlad Caia and Cristi Cons have had a pretty good comeback (producing music wise). I love their stuff a lot!!!

B: A couple of words about the mixtape? What is it aiming for?

A.J.: I think it’s a really smooth mixtape going through what I like to listen to when it comes to experimental Techno.

B: As per usual, it’s been a pleasure. Thank you!

A.J.: Thank you! Hope you enjoy it!

Thus being said, get connected with Alexandru Jijian for your regular feed of proper beats via Facebook or SoundCloud.

BASICS Podcast 009 - Blacktee

We used to strongly believe that when it comes to new talents on the so-called UK Bass scene there aren’t that many people actually living outside of the UK worth taking into consideration.

Fortunately, in the past 12 months or so, there have been some names popping up all over Central & Eastern Europe that have shaken those beliefs and managed to make us look like fools. Don’t get us wrong, we’re glad that happened, and we’re absolutely thrilled that one of those guys comes right out of Bucharest. His name is Blacktee and you may have seen him being mentioned on Boomkat or XLR8R – just to mention a couple of trustworthy proper sound pushers – by now.



He’s got a couple of singles out already on Hsuan Records and the newly founded No Stranger To Danger Records, he is quite the badman selecta when it comes to DJ mixes and he’s agreed to sign our 9th podcast in the BASICS series and tell us something about himself, his background and his plans for the future.

Tracklist:

01. Raffertie - Mimetic [Ninja Tune]
02. Motor City Drum Ensemble - There's A Truth [Faces Records]
03. Kangding Ray - Coracoid Process [Rater-Noton]
04. Theo Parrish - Sky Walking [Peacefrog Records]
05. Roman Flugel - Bahia Blues Bootcamp [Dial]
06. Julio Bashmore - Ribble To Amazon [3024]
07. Deadboy - Wish U Were Here [Numbers]
08. SBTRKT - Look At Stars [Young Turks]
09. 2562 - Fever [When In Doubt]
10. SCB - Loss [Aus Music]
11. Spectr - Dance 4 Me [Roska Kicks & Snares]
12. Roska - Holograph [White]
13. Hanuman - Bola (Atki2 Remix) [Idle Hands]
14. Unknown (Main Mix) [N/A]
15. Blacktee - Software [Unreleased]
16. Ben Westbeech - Something For The Weekend (Breach Remix) [Strictly Rhythm]
17. Toddska - Cowboy [Girls Music]
18. Blacktee - Lunar Love [Unreleased]

DOWNLOAD (via Sendspace - available for 30 days)

Knowing Blacktee:

BASICS: So, what about you? Presumably everyone who’s an addicted digger on the scene has some information about you and your sounds. The average listener might not know that much tho’. Some basics about yourself?

Blacktee: I’m a pale young man, that loves his mother’s cooking and is obsessed with a good bassline.



BS: Let’s talk about production a bit, cause obviously that’s mainly what you’ve been doing so far. The first thing I’m interested in is your influences and what got you into building beats.

BT: I started producing as a way to pass time, and slowly started to be something I can’t go without. I have a large variety of influences, but the main ones are Techno, 808, UK Funky and Jazz.

BS: The classic software / hardware talk. What and why and how do you cope with it?

BT: Software, I use Fruity Loops cuz it’s soothing to my tastes and easy to use, as for the hardware, anything goes as long as you do it properly.

BS: Taking what you’ve released so far into account, it’s easy to notice that UK Funky is one of the main attractions for you, but I feel that somehow there’s more to it than that. Your productions are not quite the classic approach for this style. I wouldn’t compare them with what people like Crazy Cousins, Paleface, MA1 and the lot are building. There’s more of an Ill Blu / Lil’ Silva feel there. Something like „ok, we’ve got the classic soca-ish drum patterns, let’s take it as far as we can into the limits of the genre”. That’s actually something easy to spot in Plasmid (as seen on XLR8R). How would you describe your sound? Is it something you plan ahead or?

BT: I don’t realy plan anything ahead, it just comes to me. I enjoy sitting alone in a room and trying to find sounds that have that jazzy, futuristic kind of vibe to them. My music gravitates around these types of sounds, which further become melted into a track.

BS: Also, you’ve been putting together different stuff lately. 128 bpm Techno bits. There are guys like MMM down at Hardwax thinking out of the box and blending UK Funky riddims with classic Techno elements, getting the bpm higher than the usual 125-126 zone. Is that what you have in mind as well for this switch?

BT: Actually it is, I’m trying out new waters, like Techno and Funky and I think they would go well together. I’ve tried to mix them up in my sets and they come along just fine. Maybe someday this could be a new genre, who knows.

BS: Sticking to your up to date releases. These are definitely a couple of singles that do not lack coherence. While No Stranger To Danger goes for the more agressive, dancefloor-ish Tek Yu Time and the „take it to the next level” Plasmid, Hsuan picked what tends to be more laidback, something you’d groove on both in the club and at home at 5 AM. How was the selection for these two labels made, considering the fact that you / they had and still have a large number of unreleased material to choose from?

BT: Well, Graeme from Hsuan contacted me some time ago via SoundCloud to release an EP - I didn’t really know much about the label back then - and told me he liked the tracks DunKno and Blazin Up, which had that kind of laidback vibe they where looking for. I then listened to the other releases from the label and they kind of matched my style a bit so that was that, we signed up and good things came from that. As for NSTD, it’s the kind of label who can bring you releases with both the clubnight banger vibes and the laidback kick your feet up kind of music.

BS: No Stranger To Danger. You have quite a special relationship with this brand new label on the scene and I’m gonna take advantage of that. Care to share more info or insights than what is already well known? Cause I’ve been checking out some of its connections, potential future releases and it kinda has what it takes to be out there with the good ones! Unless it’s classified information, I’m interested!

BT: Haha, yeah you caught me on that. The special relationship comes from the fact that NSTD belongs to my blud brother and mentor, who I dearly love and hate at the same time, but without him I wouldn’t be here doing this. So you guys should watch out for further releases cuz I had a sneak peak on the next one and all I have to say is „oh my days, keep your ears open!”.

BS: Unreleased stuff. You’ve been busy, there’s loads of it on your SoundCloud and I’ve been through it a lot before writing this set. I know Sweetin’ is getting a release soon on Future Electronic Music’s FEM Picks. Any other plans? I’d personally love to see Romantiques on a 12” along with Spatial Cohabitation. Those two would tell a story together. Also Concrete Jungle is something different and it’s worth checking out. How’s the future settling for you?

BT: I’m always making tunes, finding new ways to hurt my ears with bass music, but right now I’m waiting for that big break, that big record deal.

BS: I’ve been talking with lots and lots of people, both newcomers, veterans and label owners and most of them seemed to be complaining about how hard it is to put music out there and get it noticed nowadays. I wanna ask, do you share the same view? Is it actually that big of a problem or is it a matter of quality and that’s all there is to it? How hard was it for you, getting your first tracks released? This could very well act as a bit of advice for other young producers out there.

BT: I have to say, it’s pretty sh*t, spending hours and hours writing emails to DJs and record labels that don’t reply back, but you just have to keep sending them tunes over, you never know who’s gonna stumble upon your track.

BS: Besides studio work, you’ve been putting together mixes for quite some time as well. Both as promos or for radio shows. You tend to keep it in the 130 bpm / dancefloor lines (sort-of) with what you’re mixing. What’s your DJ-ing philosophy?

BT: I believe they should make you dance in your chair and bob your head, even if it’s home alone whilst your mom is watching and having a laugh or on the streets listening to your iPod.

BS: How about some artists / tunes you’re really into at the moment? Small list? As per usual, no genre borders, no age limit.

BT: The artist I’ve realy been into lately is Blacksmif, a fellow SoundClouder that is absolutely an amazing producer, Machinedrum, Boddika, Motor City Drum Ensemble, Scuba as for tunes, I’m really diggin’ Wiley – Link Up at the moment.

BS: Finally, tell us a couple of words about the mix you’ve just put together for us? Facts worth knowing.

BT: It’s a combination of Techno and UK Funky tracks that I’ve been into lately + some of my own productions.

BS: Thanks for your time mate and I wish you the best of luck, loads of time to spend on building stuff and keep the proper sounds view going! Cheers!

BT: Pleasure doing this. Big up all the BASICS lot! Cheers!

Thus being said, please get in touch with the latest news regarding Blacktee's sounds via his own SoundCloud account or his Facebook page and if you're round Bucharest this weekend catch him spin alongside Son Of Kick & Dubsidia @ Atelierul de Productie on Sat. 17th of September. Pay attention!

BASICS Podcast 011 - Snygg

We’re slowly moving on into the double figure podcasts and, for 011 we thought we’d sort out another curator’s edition. Just as before, this serves as a platform for the better understanding of what we and our fellow promoters / DJs / writers on the local scene actually spin and aim for in terms of sound.

Since we’ve mentioned Future Electronic Music quite frequently for the past year or so, it only seems fair to give its head-honcho – Snygg – the chance to explain some of the thinking behind what he’s doing at the moment and showcase his personal selection for us through a smart mixtape.



For those of you who’ve been off the loop for the past twelve months, Future Electronic Music is a Facebook lurker pushing all sorts of next-level-ish beats ranging from -100 to well over 160 bpm, curating podcasts and reviews from time to time via their blog and releasing fresh unheard-of talents for your listening pleasure via FEM Recordings.

Quite the fucking achievements-list, from some guys who are not even in their twenties yet and could have spent their leisure time getting wasted and raving to Jump-up Drum&Bass instead of doing what they’re doing, we think.



Add up Snygg’s potential as an upcoming DJ on the scene and his official debut alongside names like Kode9 or Joker a few months back and it should raise enough awareness for you to bookmark everything you find on the web with these fellas’ names on it.

But as we don’t like praising anyone THAT much, we figured it would be for the best to let Snygg say a couple of things about FEM and the mixtape he’s put together for us.

Comprehensible words and dancefloor-submission Techno included.

About FEM:

I can't really say too much about FEM. It all started in June 2010 as a Facebook fan page. It was actually a wish of mine to promote the music that I love. After a few months, the page increased in terms of its fan base a lot, spreading around the world, especially in the UK, in Romania (where we are based), in the USA & in Germany. After seeing the popularity of the page rise, I was kinda forced to make this project bigger. So we started our blog in June 2011. Basically, the blog will be a platform for our FEM Podcasts series, whose purpose is to promote talented unheard-of artists, plus other stuff like reviews, party chronicles etc. In addition to that, the Facebook page will serve as a daily hub for quality electronic music. In the near future we will try to expand our fresh project called FEM Recordings into a serious label selling 12"s as well as digitals. So far, we've released a free download compilation called FEM Picks with sounds from the likes of Palace, Jackie Dagger, Leibniz and so on. Be sure to check it if you did not! Right now FEM is consisted of Snygg (Paul Popa) - founder, DJ & writer - aerverde (Ion Lazar - DJ, writer, graphic design (helps with the logos, artworks) - & Bateman (Jack Bateman) - DJ (Tight Music Bristol, Dubs.tek) - with who I will try to put a FEM clubnight out when I relocate to Bristol in September.



About the mix:

The mix is consisted of some sounds that I am into right now. I can't say I have a fixed sound to be honest. Depends of the mood & line-ups I guess. I can mix from Disco, House, Techno, UK Funky to bassy 140 bpm stuff or even Juke. It's not actually a studio mix but more of a club set. So I hope it will move you wherever you are. In my opinion, the most interesting part of the mix is the intro. It is an unreleased tune by Leibniz. Such a talented artist. You really need to check him.

Tracklist:

01. Leibniz - Alle [Unreleased]
02. Sigha - Fold [Hotflush]
03. Roman Lindau - Lyrica [Fachwerk]
04. Vrip - UV [Ostgut Ton]
05. Anthony Shake Shakir - Travellers (MRSK Remix) [Rush Hour]
06. Wax - Wax30003 B [Wax]
07. Francesco Tristano - Idiosynkrasia (Ben Klock Remix) [Infiné]
08. Appleblim & Ramadanman - Sous Le Sable [Aus Music]
09. Furesshu - Lucid (Shifted Remix) [Project Squared]
10. MRSK - Black Keith [Rush Hour]
11. Mike Dehnert - Umlaut2 [Clone Basement Series]
12. Roman Lindau - Crasse [Fachwerk]
13. Mike Dehnert - Teilfolge [Delsin]
14. DJ Bone - We Control The Beat [Subject Detroit]
15. Cosmin TRG - De Dans [50 Weapons]
16. Plastikman - Spastik [NovaMute]

DOWNLOAD (via Sendspace - available for 30 days)

Thus being said make sure you check Snygg’s sounds via his SoundCloud account and keep in touch with Future Electronic Music on Posterous and Facebook and with FEM Recordings via their Bandcamp.

BASICS recommends: ECHOCORDCOLOUR016 - Skudge - First Observation EP

Few years ago, a series of records appeared out of nowhere under the Skudge guise. Nothing was known when they appeared about the person or people behind the alias, other than the fact that they had released a record on Alphahouse in 2009. There are just a few underground artists who have made an entrance onto the electronic music scene that strong as Skudge.

Skudge are two Swedish guys, Elias Landberg and Gustaf Wallnerstrom. When they were asked about why they initially chose anonymity, one of the members of Skudge told the interviewer: „We choose to be anonymous because we want the listeners to put focus on our music and not our personalities. For us, the music speaks for itself.”



Although the duo was only formed a couple of years ago, in the summer of 2009, they have already moved out of near-anonymity of deep, warehouse-styled House and Techno fans. What is so impressive is that all of their releases so far have been strictly vinyl affairs - no digital files at all.

Following the 2010 inception of their own imprint, Skudge Records, the duo has built up quite the cadre of devoted followers, and seeing their work on some a more widely-recognized imprint is well deserved acknowledgement, indeed.

This year was a great year for Skudge with a wonderful debut album out this spring and two new releases, first of them named „Below / Phantom” and the second being exactly this one which is also an intersection between House and Techno which seems to be the point where the duo most often find themselves.

It’s always been difficult to talk too much about their music.

Elias and Gustaf have delivered a lot in a short time under their partnership as Skudge. This may be a bad thing for most if we think about the quality of their music, but the Swedish duo knew how to make a good catchy thing and to maintain a high standard of output since the Autumn of '09.



The „First Observation” EP is the first release by the Stockholm-based Skudge on Echocord Colours which is a label that has been pursuing its own style without giving away the headscape of having a solid representation over a selection of crafty artists. For Skudge though, this is a release not so similar to their other tracks on Skudge Records.

„Surplus” and „Void” both sit at the deeper end of the Techno spectrum with the flip being the marginally more punchy of the two cuts, while dutchman Conforce completes the package with an uncharacteristically dull Dub workout.

„Surplus” sees agile dubby flexes, immaculately executed and is based around a set of deep Techno chord stabs thrown in with a measure of discrete whistles and driving claps. There’s a certain Dub atmosphere to it, but it’s really rather too busy to call Dub-Techno.

Flipping the record over we find „Void” and with it more reasons why this pair have gained the attention of so many people who all seem unable to say exactly why it is they’re so good. This one is a catchy two-note dancefloor driven piece which mutates and intensifies just enough to keep listeners wondering what the next bar will sound like.

The ever-reliable Conforce steps up for a remix of „Void” and flips it in a new direction, reconciling skippy rhythm and Detroitian hi-tech Soul with a heavy sub-bass mixed in with distorted stabs and dreamy synths lines.

Skudge - Surplus

Skudge - Void

Although these productions are optimized for maximum dancefloor impact, there’s also another impressive fact about them: sounds and vocal snippets are subtly, selectively employed to imbue each loop with an extra infectious sense of swing or to underline a groove or accentuate an emotion.

There is no doubt that this is a supernaturally good EP!!!

You can buy the release via Boomkat in the form of a 12” / digital download, and if we managed to get you interested into Skudge’s sounds they have loads of previously released material ready for you to check and add to your record collection.

Denisa Lazar

BASICS recomanda: NL009 - Kowton - Keep Walking / Show Me

Secolul actual se traduce cu siguranta in era label-urilor independente pe piata muzicala cu pretentii din toata lumea, iar daca anul 2011 pare sa fie anul fuziunilor House-Techno-Dubstep si al revenirii Electro-ului Drexciyan pe dancefloor-uri mi se pare fair ca pe langa organizatii deja uber-influente ca Swamp81, Nonplus, Tectonic sau 3024 sa luam in calcul si existenta unui micut label stabilit in 2008 in Dublin pe nume [Nakedlunch].



Imaginea de mai sus a fost asociata in ultimii 3 ani cu un brand focusat pe calitate, foarte variat, nu tocmai consistent dar al dracului de inventiv, al carui A&R - Micky - a speculat permanent, absolut superb, momentele de maxim in evolutia sound-urilor artistilor semnati. Noua release-uri in trei ani au oferit ceara, marketing si distributie pentru produceri pe val, ulterior ajunsi aproape de statutul de legende si au marcat momente critice in evolutia sound-ului care conteaza: release-ul de debut al label-ului: TRG - Generations, anthem-ul Instra:mental - Vicodin, release-ul de debut al act-ului solo Boddika, Jus Wan - Submersive, incredibilul Kevin McPhee - Get In With You, o aparitie rara a lui Sherard Ingram (Mystic Tribe, DJ Stingray, Stingray313) si mai nou, un release care ne-a trezit amintiri din perioada in care sound-ul destinat dancefloor-ului era inca simplu, eficient si lipsit de pretentii: Kowton - Keep Walking / Show Me.



Despre Kowton (cunoscut celor mai batrani / diggerilor nascuti in epoca Dark Garage sub alias-ul Narcossist) si ale sale calitati in materie de productie am mai povestit acum cateva luni cand am scris un scurt cover story despre label-ul lui Chris Farrell - Idle Hands. Cateva release-uri si o trecere prin roster-ul Livity Sound mai tarziu, Kowton scoate la lumina probabil cel mai bun EP al sau de pana acum sub forma release-ului 009 din discografia [Nakedlunch], intr-o prezentare pe masura sound-ului - clear red vinyl.

Spre deosebire de trecutul mentionat mai devreme reflectat in release-urile relativ grele / mutatiile Dubstep puse la dispozitie via Keysound sau Clandestine Cultivations, aparitia pe discurile stampilate Idle Hands se pare ca a scos la lumina fata nevazuta, ceva mai slo'-mo' si Techno-influenced a lui Kowton. Urmatorul pas pe scara evolutiei dupa She Don't Jack / Drunk On Sunday.

Keep Walking ocupa una din fetele discului in cauza si este, simplu si la obiect, o replica la Workshop012 si We Speak To Those, semnate Kassem Mosse, replica argumentata ca la carte printr-un subbass cald, maleabil, un build-up matematic, synth-uri salon, un sample vocal mai mult decat inspirat si o constructie aerisita in care fiecare element isi are locul sau, nimic nu pare sa fie in plus sau in minus. O replica la Kassem darker, heavier, cel putin pe masura cu un avantaj clar la capitolul DJ friendliness. Better!

In cazul flipside-ului ma declar incapabil de a fi obiectiv. It's personal.

Show Me surprinde absolut tot ce am apreciat la epoca Dubstep in cei X ani ca ascultator si DJ alaturi de un vibe nealterat specific producerilor "scoliti" in Bristol, vibe pe care, sincer, nu l-am mai intalnit de la lansarea Headhunter - Nomad, candva in 2008. Totul impachetat si livrat la un bpm mult mai accesibil (127) pentru orice DJ care se incapataneaza sa mixeze sound-uri de actualitate.

Ritm spart, constructie si build-up mecanice (kick-clap-snare-shuffle) dublate de un bass organic care da viata intregii structuri, dezmembrata in breakdown si reasezata pe pattern-ul pad-urilor sintetizate (goosebumps!) . Paradoxal, doua feel-uri radical diferite, separate de un drop.

Pe scurt, release absolut esential pentru dezvoltarea emotionala a ascultatorului si must have pentru colectionarii care au investit deja in discuri semnate Elgato, Kassem Mosse, Martyn, Arkist, Kidkut sau Appleblim. Go listen to it:

Kowton - Keep Walking

Kowton - Show Me

& go buy it: Boomkat 12" / Boomkat Digi.

Support [Nakedlunch] 010. Instra:mental - Vicodin (Skudge Warehouse Mix) / Boddika - Grand Prix.

BASICS Podcast 007 - Toné

Editia a 7-a corespunde cu primul spatiu dedicat curatorilor BASICS. O formula cu care va veti mai intalni pe viitor, mixtape-urile de gen fiind, consideram noi, un pas logic in directia consolidarii perceptiei asupra sound-ului cu care BASICS se identifica intr-un punct sau altul in timp. Pe scurt, ce ne impresioneaza cel mai mult pe parcursul unei perioade de cateva luni isi gaseste locul in podcast-urile Curator's Edition. Nimic mai mult, nimic mai putin.



Fara prea multe explicatii adiacente, mai jos se gasesc toate cele necesare - stream, link de download, tracklist si o scurta dezvoltare a conceptului din spatele mixtape-ului.

Tracklist:

01. Julio Bashmore - Battle For Middle You (Maurice Donovan Dub) [PMR Records]
02. SCB - Loss [Aus Music]
03. Anthony Shakir - The Floorfiller (Skudge's Floor Killer Remix) [Rush Hour]
04. Resoe - Minus & Plus (Sigha Remix) [Echochord]
05. Jeff Derringer - Tarantula (Claro Intelecto Remix) [Perc Trax]
06. Cosmin TRG - Sirop [Rush Hour]
07. Blawan - Bohla [R&S]
08. Elgato - Blue [Hessle Audio]
09. Boddika - Warehouse [Hotflush]
10. Joy O - Wade In [Hotflush]
11. Pangaea - Inna Daze [Hessle Audio]
12. Boddika - Breezin' [Nonplus Records]
13. Scuba - Feel It [Hotflush]
14. Wax - Wax10001 2 [Wax]
15. DJ Dom - You Can't See Me [Blunted Robots]
16. A1 Bassline - 1.4.7 [Tighten Up]
17. Julio Bashmore - Batty Knee Dance [3024]
18. Hackman - Made Up My Mind [PTN]
19. Optimum - Light Year [Hum & Buzz]

DOWNLOAD (via Sendspace - disponibil 30 de zile)
ALTERNATIVE STREAM / DOWNLOAD (via SoundCloud)

Mixtape-ul in cauza reprezinta in proportie de 100% o selectie personala si cu asta cred ca am spus tot. Nu stiu daca are sens sa dezvolt foarte pe larg povestea.

Se jongleaza cu un numar maricel de genuri / stiluri, avand switch-uri din zona Tech-House-ish si pur Techno - in principal primele 5-6 piese - pana la Electro sau House infuzat 808 sau cu percutii Acid si foarte putin spre (nicidecum in) zona UK Funky, pe final, cu diverse inserturi pe parcurs. Daca ar fi sa caracterizez selectia per total as spune "Acid-percussions / drum-machine-influenced new wave sound"...cumva. E greu de categorisit sau impartit in directii ale sound-ului si foarte putin important, sa fiu sincer.



In esenta, e vorba de un showcase club / warm-up oriented, cu ups and downs, pasaje lungi si double drop-uri, treceri scurte sau cut-uri si treceri lineare sau piesa pe piesa, deopotriva. Daca ascultatorul cauta insa flow-ul perfect si o selectie de 19 piese in aceeasi cheie sau un set care sa se asorteze cu restul materialelor audio de pe iPod, podcastul de fata nu e prima optiune; poate nici macar a 20-a. E vorba strict de o ora si un pic de muzica care tinteste sa fie eficienta si comprehensibila, nu sa dea sau sa arate bine.

Avand lucrurile de mai sus in vedere, totul ar trebui sa functioneze ok. Enjoy!

Mai multe informatii despre Toné via Facebook. Pe noi stiti deja unde ne gasiti.

BASICS Podcast 006 - Alien Pimp

Daca ultimele doua-trei editii s-au invartit in zona ceva mai low-bpm, Disco sau House a muzicilor electronice de dans care conteaza in 2011, de la editia a 6-a - asa cum v-am avertizat - facem un mic switch de directie spre zona in care ne simtim cel mai confortabil: peste 128 bpm, fara granite din punct de vedere al genurilor abordate.



Din motive pe care speram ca nu mai e cazul sa le explicam articolul va fi de aceasta data publicat aproape integral in limba engleza.

So, we're now proud to say our sixth installment for the series wears the signature of one of the most prolific and active producers Romania ever saw: Alien Pimp representing DubKraft and False Flag Operation.

For the young ones, Alien Pimp builds tracks for well over fifteen years now and currently owns two labels: DubKraft - which is best known for succesfully experimenting, over the last four-five years, with a rather large palette of dance sounds ranging from House and Techno to Dubstep and Drum&Bass and for discovering amazing fresh talents such as Asusu, Furreshu or HxdB to name just a few of our favourites - and its newly born sister: False Flag Operation - which is also set to stir some big waves in the open-minded circles out there. You'll see what we mean by that.



The mix you're about to hear acts both as a label showcase for these two music factories and as a producer showcase featuring some (seriously good) unreleased Alien Pimp material. Also there are a couple of unsigned / unlabeled inserts which we like to think of as some of his big favourites as a DJ at the moment plus a very interesting track surfacing from a very interesting producer. See if you can spot it.

To sum it up, probably one of the most complex recordings we're ever gonna host. You're in for some serious style juggling this time.

Also there's a rather large, highly recommended and self-explanatory interview with Silviu that can be read lower on this page!

Even though this time we could easily write a novel, we will stop here because we truly believe that both the audio and lecture materials speak for themselves. Get to know!

Tracklist:

01. Edoc - Losing My Emotion [False Flag Operation]
02. Alien Pimp + Terry Artovsky - Schoe [False Flag Operation]
03. Vlad Onu - Patterns [forthc. DubKraft]
04. Adam Kroll - Days At Night [forthc. DubKraft]
05. Kelle - Siberia [DubKraft]
06. Alien Pimp - Dynautics [N/A]
07. Alien Pimp - Destroit [N/A]
08. Datacode - Upstream [DubKraft]
09. Hector Villanueva - Estamos Bien (Latino-Glitch Treatment by SubJazz) [DubKraft]
10. Robot Koch vs. Graciela Maria - Brujeria [N/A]
11. HxdB & Self Evident - Hoof Hearted [forthc. Palms Out Sound]
12. Alien Pimp - Can't Push A Wave (Can Only Surf It) [forthc. Gradient Audio]
13. Volatil - Parallel Worlds [DubKraft]
14. Alien Pimp - Another Sunny Day In Barcelona [Subdepth]

DOWNLOAD (via Sendspace - available for 30 days)

Knowing Alien Pimp:

BASICS: First of all cheers and thanks for taking some of your very little available time to do this whole thing! We know you’ve been busy as hell. How are you holding up?

Alien Pimp: Cheers! Not easily, this world makes huge efforts to marginalize anyone more concerned with mental and spiritual (in a non-religious sense) development than with profitability.



B: It’s useless to try and paint your portrait as an artist / producer / label owner etc. again. Anyone fairly in touch with the contemporary Bass Music scene knows who you are and what you do. So, our favorite intro question: what is it that Alien Pimp doesn’t do?

A.P.: Ha! I don't do a lot of nice things I wish I did but I don't have the time or the resources for. Provided those, I'd be happy to contribute the world more beauty and quality entertainment. And maybe some reason too; that's missing more than anything.

B: Ok, let’s get serious. It’s a rough time for labels at the moment with the economy collapsing all over, with issues like piracy and with huge amounts of music (some good, most of it awful) in stores everywhere. Still, DubKraft seems to be rolling smoothly out there and you’ve just launched a subsidiary to it: False Flag Operation. Tell us a bit about the concepts of / differences between these two. How do they manage to stay on the market independently from one another? Is FFO actually DubKraft under a false flag or does it have anything to do with secret military operations?

A.P.: I actually took things seriously from the beginning of this.

It's simple: DubKraft never had a standard label approach, but it still fits some standards and requirements of the market, obeys some rules, we basically put on a suit to get the job and some acceptance so we can spread a message of change and evolution from inside. And things changed these first five years, that approach became standard business attitude for many other labels, it became an establishment in itself, and we're comfortable there, we don't need a fix now.

BUT that doesn't mean there is no next next level (repetition intended). And the new sublabel will be taking care of that. It's like with any serious company: it has its own secretive lab where it cooks the future. Everything we do is a seed but very very few people know how our mature plants will look like. We're capitalizing on the trust we've gained so far to plant these seeds.

I can disclose the final target though: self-sustainable total creative freedom for the artists at affordable costs for the impoverished masses. Provided support from a bit more audience than we already have now, I know now we definitely can get there, even in the current context. It's just we need a bit more love than a label of our type gets usually and we gonna earn it!

B: DubKraft just released the second volume of Adult Bass Music, a compilation which I personally find to be damn interesting from many points of view. It also got ridiculously good feedback from many guys considered to be living legends on the scene. Let’s talk about the artist choices for this compilation and the split between bpm ranges, into up and midtempo. Who and respectively why? Why the name? And last but not least, where’s the downtempo edition?

A.P.: The label/release strategy is like a very flexible and adaptive grid with serious criteria. If a track fits in and pushes things the right direction - it gets in. I don't care who the artist is and his pedigree, I only care about the music and the development. After 5 years of growth, DubKraft is now a pedigree in itself.

The split between the bpm ranges is a marketing thing mixed up with my view that genres are irrelevant today, and the tracks should be described only by mood plus bpm plus the predominance of some sounds/techniques (techy, dubby, organic, breakbeat, straight beat etc...). I don't think there's gonna be much downtempo stuff on DubKraft though, for reasons I won't get into because that would mean another page of text. But there will be enough of it on FFO, there are almost no restrictions there.

Ah, about the name: it caught your attention, didn't it? Now tell me you're not one of those who forgot the original meaning of the word and you don't read only XXX when "adult" is printed on the paper (n.r. we at BASICS do not acknowledge the existence of porn).
Because if you do, and then you listen and you still don't hear "grown up" instead of XXX, then you're not ready for us, sorry. We have to be very selective, a lot of bad audience might feed us more but it's ballast for the good developments. We're very democratic in some ways, but history proved progress came from the best and regress from the rest. Cope with that, I didn't make that rule!

And I know It might sound self-contradictory: we need love but we don't take it from everyone. What most people don't realize is that some love can be toxic, people often die from love. I prefer a slower but healthier growth if that's what it takes.

B: DubKraft also started out as a Dubstep label and it slowly became what it is today: a house to all great music, no matter the genre and bpm. Also Alien Pimp (and I’m talking about this moniker only and about the after-2000 era) used to produce mostly Drum&Bass and Dubstep and lately has put out some brilliant Techno and House-ish beats on FFO, DubKraft, Micropuncto or Subdepth. Were these transitions something natural, that came along with experimenting, or a logical step in the general scene direction of 2010-2011?

A.P.: A bit of a correction: DubKraft has some limitations, it puts out anything good, but stuff that's bassy enough and DJ-able for those who play in the ranges of 120-145 bpm and 170+ bpm. That's it. We made occasional but rare exceptions.

As for the transitions: I'm just making tracks like I need to listen at the moment or just trying a new idea. And I have moods, or I get bored with some things for a while, then maybe I come back to them... I just follow the inspiration and the energy of the moment... What comes out afterwards, how people split them into genres and all; that is another story, not the most interesting for me. Today it appears I'm on a Techno spree, but I write everything. Just worked with guys in Indie Rock (The Mono Jacks) or Nu-Jazz (Alain de Laniere). Many of these tracks you hear today were started 2-3-10 years ago and came out today because that was their fate. Due to the market conditions, my work is not exactly synced with the releases and my public perception. Good thing I have these labels, otherwise some of my best and most successful tracks would've never seen the shelves and people would've had an even more distorted image about what I do. Sometimes I think my best material got the most rejections from other labels. Their loss...

B: Since we are in the labels area, I have a last curiosity and I hope it doesn’t push the wrong buttons or anything: What ever happened to SoundKraft? It had some brilliant releases. Did it get assimilated into DubKraft or...?

A.P.: There's no secret, I've explained that in some interviews before, I think, but if you don't know that means more people don't.

SoundKraft's main objective was promoting the new wave of Eastern-European Drum&Bass. (n.r. if you don’t know what we’re talking about please Google: „Eastern Sound Architects”) It took very few years before our artists (Sunchase, Cooh, Dissident, Prode to mention but a few) stepped up to a level of biz SoundKraft couldn't provide and Eastern Europe became acknowledged for what it is: one of the main providers of fresh blood (wink at Hospital) for the worldwide scene. Basically the big labels picked up on that pretty fast and made SoundKraft pointless. Then I tried to find a new place for SoundKraft by opening its gates to everyone, but that coincided with those few years when standardization almost killed Drum&Bass and the ideas I had (some of them successfully revamped in Marginal production many years after) found no place and not much support at the moment, so I simply shut it down. But it's all good now and I'm proud to say some of the SoundKraft tunes are for me among the best in Drum&Bass ever, regardless recognition.

B: As a producer you have an impressive history behind. You’ve also been involved in a lot of projects and had more than one moniker. I for one did not expect to see those two tracks under WeAreNotSure and Sonic Tonic getting reissues on FFO. What triggered the need to bring them back to life, especially since the original releases were on Bucharest Chills & Thrills – one of the best and most original compilations Romania ever saw?

A.P.: They are timeless and very few people know them outside Romania (and even inside). There will be more things coming out from the vault, proving that one day you get some hype, next day it might fade, but eventually that is nothing to worry about when you focus on writing good music, not trendy music, good people will recognize good quality. Those tunes got more appreciation today than back then.

B: Even though you’ve relocated to BCN, you’re still one of the main promoters of young and talented producers. After Dudawles and Archer, both signed on DubKraft, what Romanian names should we look up to in your opinion?

A.P.: These two guys you mentioned, Ion (n.r. the one signed by Local Records as well, not the Dubstep DJ), and a couple more that I will unveil pretty soon but not now. Talking about the new wave only. And I'm sure there's gotta be a few more guys I ignored.

B: Let’s juggle the topics a little more. You seem to be a bit concerned with social and political issues and generally with the big things happening all over the world. How does that energy get transposed into your work as an artist, into your tunes and into your label concepts? Or are they completely separate things?

A.P.: The same way they transpose in everyone's lives and work, I'm just more aware of it than the majority and that makes it more apparent in my work. And if you get attention from people, you have a good message and you don't use the opportunities to make things better and increase awareness, then you deserve your fate. I like to deserve good things before I ask for them. For my self-esteem, deserving is even more important than obtaining, it's the distinction between merit and recognition, recognition is an external thing I can't fully control, but merits are 100% up to me.

Bottom line: the key to a smile and a good sleep is being frustrated with the others not with the self. Cause you can't escape frustration in this world. So I'm doing my part as good as I can and it feels good, I recommend it to everyone.

B: You’re also a DJ. Let’s not forget that. How does a DJ set look and feel when you’re at the decks? Is it Techno? Dubstep? Drum&Bass? Across the board? Is it a label showcase? Is it a journey through your influences?

A.P.: Oh, there is no straight answer to that because each time is different. Most of the times is just about looking at the audience and going with the flow in the most spontaneous way, but sometimes I need to make a point or promote something in particular and then it's more prepared in advance. I can go from 110 bpm to 175 in 2 hours if I have the proper audience for it. Genres matter only for some promoters, I respect the profile of an event I'm booked for, but "Style Is A Cage". (n.r. http://bit.ly/gXjDxN)

B: You’ve spent enough time on both BCN and Bucharest electronic music scenes. Each will probably think that the other is better in some way. Is the truth somewhere in the middle? What are the differences in your opinion?

A.P.: The main difference I found is the ratio good audience/talents. The situation is almost inverse it the two places, seems like the audience in Bucharest is really big, but on the creative side there's a huge hole that needs to fill up. Barcelona is the other way around, but the creative force here is very much "imported" from other countries or cities, and as Spain is fucked up economically some of these forces are starting to leave. Future developments will be very interesting, hopefully an equilibrium will be reached.

B: Can we get 5 all-time favourite tracks of yours? No age limit. No genre borders.

A.P.: Hardly, I always have issues with these charts, because I've listened to everything, from Debussy to Cradle of Filth, Autechre or Pixies. And loads of these stayed with me even if I forget most titles.

So no chart, just some of the classic tracks for me that I never get bored of:

Sisters Of Mercy - Black Planet
Pixies - Where Is My Mind
Goldie - Inner City Life
Joy Division - ... (you fill in the blanks)
The Orb - Little Fluffy Clouds

It's frustrating to put these above all the other tracks I love!

B: You are put in the situation of explaining a young teenager, or someone round that perceived age, who Alien Pimp is and most important, what your music is. You can only do this by playing him just one of your tracks. Which is it? And why?

A.P.: I released many dozens of tunes to be reduced to just one? Impossible... Give me the attention I worked for or leave me alone!

B: Finally, tell us a couple of words about the mix you’ve put together for BASICS.

A.P.: Adult bass.

B: And a huge „thank you” once again! Hopefully we’ll hear more and more about you, DubKraft and FFO in the immediate future! Cheers!

A.P.: Thanks for the love you and my supporters provide! I'm doing my best to return it twofolded.

And as I'm a limited human being with limited resources, no love for the politicians of any sort, for money-focused people, for religions, and for the ignorants by will, you are the dark side!

Thus being said...please go to www.dubkraftrecords.com, www.falseflagoperation.org or www.silviucostinescu.info often to get your news and releases feed and if you want any of the tracks they put out, they're all up at very good prices on www.dubkraftrecords.ithinkmusic.com. Show support!

BASICS 014 cu MONTGOMERY CLUNK pe 19 Februarie

Editia cu numarul 14 se intampla Sambata viitoare, pe 19 Februarie, dupa care luam o mica pauza pana la mijlocul lunii Martie.

BASICS 014
SAMBATA, 19 FEBRUARIE 2011, 23:00
BASE CAFÉ (Str. Sepcari 22 – in spatele Hanului Manuc)
INTRARE LIBERA



SPECIAL GUEST: MONTGOMERY CLUNK (Error Broadcast)
www.error-broadcast.com



Special guest de data asta din zona ceva mai low-bpm si experimentala (insa nu exclusiv) in persoana unui export muzical uber-fresh din .ro: Montgomery Clunk. Are deja un EP lansat la Error Broadcast, prezenta bifata pe line-up alaturi de FaltyDL iar Boomkat ii caracterizeaza sound-ul ca: "James Blake-esque rhythms...and crafty Dorian Concept-style arrangements". We recommend as well! 19 Feb.

HOST: TONÉ (BASICS - Bucuresti)

Mai multe informatii si materiale audio se gasesc evident, pe Facebook - pe pagina evenimentului.

BASICS Podcast 002 - Acqzuel

Editia a 2-a de podcast migreaza via Cluj-Napoca si vine ca un warm-up ideal pentru BASICS 013 care se intampla Sambata, pe 5 Februarie in BASE Cafe.

BASICS Podcast 002 e conceput sa dea bine pe dancefloor si vine de la Acqzuel, care reuseste sa puna cap la cap in aproape 50 de minute mult bass, killer four to the floor beats & lots and lots of groove. Pentru o intelegere cat mai deplina recomandam sa porniti sub-urile si sa ridicati fara grija volumul.



Ca de obicei (daca il putem numi obicei la doar a doua editie) mai jos gasiti mixul la stream via Mixcloud si la download via Sendspace. De asemenea, un scurt Q&A cu Acqzuel se poate citi mai jos.

Tracklist:

01. Andreya Triana - A Town Called Obsolete (Mount Kimbie Remix) [Ninja Tune]
02. Vaghe Stelle - Emiciclo 1 [Monkeytown Records]
03. Shed - With Bag and Baggage [Monkeytown Records]
04. Kevlar - Feelings Are Weapons (KiNK's Psyche Dub Mix) [Nervous Records]
05. Hipo, Livio & Roby - Stapanu' Intergalactic [Desolat]
06. Ernesto - Wise (Motorcitysoul Remix) [Rakkaus Records]
07. Motor City Drum Ensemble - Raw Cuts #1 [Faces Records]
08. dOP - Walk The Line [Children of Tomorrow]
09. Hermanez - Do You [KNM]
10. Megablast - Jupita (Stereotyp Remix) [La Rosiere Records]
11. Varsoslav feat. dOP - Inside Ways [Supplement Facts]
12. Maya Jane Coles - Don't Tell [Real Tone Records]
13. Amadou & Mariam - Sabali (Uproot Andy Remix)
14. Robyn - Indestructible (A-Trak Remix) [Konichiwa Records]
15. ROS - Ear Rings [Scarcity Records CDR]
16. Ruby Goe - Beat Breakin' Boy (Stanton Warriors Remix) [Punks]
17. Mesmer - Fearless [Scarcity Records CDR]

DOWNLOAD (via Sendspace - disponibil 30 de zile)

Knowing Acqzuel:

BASICS: Salutari din BASICS HQ in primul rand si multam de accept pentru podcast si Q&A. Cum merge? Cum e vremea?

Acqzuel: Salut, mersi de invitatie. Momentan sunt pe autobuz, ma intorc din Targu Mures, e frig, e ceata, vreme perfecta de stat acasa.



B: Noi te cunoastem de mult, majoritatea publicului din .ro te cunoaste din perioada in care invarteai discuri in warm-up pentru nume grele din Dubstep ca Tes La Rok sau Coki sau de la festivaluri ca TMBase, Summer Break sau Get Out. Cine este Acqzuel pentru cine nu te cunoaste inca? Cu ce se ocupa?

A: Pe scurt: Ma numesc Alex (aka Acqzuel, Acuarel, etc.), am 25 ani, sunt din Targu Mures dar locuiesc in Cluj. In timpul zilei sunt designer grafic, si de Craciun si Pasti mai fac o piesa un beat ceva.

B: Esti un DJ complex care mixeaza intr-o arie larga de bpm si pe scene diferite. De la Hip-Hop, la House sau Techno, pana la Garage, Dubstep si Drum&Bass. Warm-up, main sau afterhours. Cum ti-ai caracteriza tu sound-ul? Ce mai mixeaza Acqzuel azi? Dar ce asculta acasa si in casti?

A: Sunt anumite locatii in care ma simt liber sa jonglez cu bpm-ul. De la chestii care suna a Hip-Hop pana la ritmuri rupte si pline de bass trecand prin Techno, House si alte sound-uri asemanatoare. In rest ascult multe genuri de muzica, depinde de stare. (de ex: in timp ce scriu asta, ascult Tokimonsta.)

B: Pentru ca tot am mentionat deja controversatul capitol Dubstep, sa nu ignoram elefantul din mijlocul sufrageriei. Scurt si la obiect: What got you in? What got you out?

A: Prima piesa care am auzit-o a fost Anti War Dub a celor de la Digital Mystikz, a urmat Loefah, Skream si altii. Am fost fascinat de sound si de faptul ca nu existau limite, orice putea sa fie Dubstep nu conta bpm-ul sau anumite formule, tinea mai mult de vibe. Din pacate in scurt timp lumea a inceput sa perceapa Dubstep-ul ca fiind total altceva, nu are rost sa intram in detalii.

B: Pentru ca vorbim de 2 perioade diferite, sa concretizam: Cateva track-uri din topul preferintelor tale din 2008-2009 versus cateva din topul de azi?

A: Ar fi multe preferate dar sa numim cateva.

Atunci:
- Ramadanman – Revenue (Untold Remix)
- Headhunter – In Motion
- Synkro – Everybody Knows

Acum:
- Justin Martin – Get Low (J. Philip Remix)
- Skinnz – Keep It Gutta
- Gesaffelstein – Atmosphere etc.

B: Capitolul de presupuneri prin absurd: Detii controlul asupra tuturor frecventelor AM-FM. Ai o ora si ceva, maxim doua la dispozitie pana ajung la usa ta o armata de mascati si te decizi sa lasi un mix sa curga in timpul asta. Stii ca ai o audienta de cateva miliarde de oameni. Dai play la?

A: Doua dintre mixurile care mi-au rupt boxele si castile mult timp au fost: Untold – XLR8R Podcast 103 si Dubase – Where’s My Ghetto.

B: Revenim pe pamant, in 2011. Pe langa DJ-ing, stim deja ca produci si o faci destul de bine. Piesele tale sunt o prezenta constanta in tracklist-urile BASICS. Software? Hardware? Sound? Ce release-uri ai, ce release-uri si planuri urmeaza?

A: Din pacate nu prea mai apuc sa lucrez la piese pe cat de des as vrea dar pana acum in mare am folosit Reason. Pe viitor sper sa trec pe Ableton. Am doua piese la HD Music si urmeaza o a treia la Scarcity Records.

B: Ok, in incheiere, spune-ne pe scurt povestea din spatele mixului pentru BASICS. Ne intalnim si pe 5 Februarie la BASICS 013. La ce sa ne asteptam?

A: Podcastul e un intro pentru BASICS 013. Va fi o seara plina de groove, dirty snares si crazy synths.

B: Danke si te asteptam peste 4 zile in Bucuresti!

A: Mersi si eu, si ne vedem Sambata.

Cu Acqzuel va intalniti Sambata, 5 Februarie la BASE Cafe cu ocazia BASICS 013 iar mai multe materiale audio de la el (piese si mixuri) gasiti pe Soundcloud sau Mixcloud.

BASICS 013 cu ACQZUEL pe 5 Februarie

Yes. New year, new events. Incepem iuresul pe 2011 cu domnul ACQZUEL, care nu si-a mai facut de multisor simtita prezenta pe la butoanele bucurestene. Am considerat ca nu se cade asa ceva, tocmai pentru un DJ cu un sound asa fain si l-am chemat la editia cu numarul 13, care oficial suna cam asa:

BASICS 013
SAMBATA, 5 FEBRUARIE 2011, 23:00
BASE CAFÉ (Str. Sepcari 22 – in spatele Hanului Manuc)
INTRARE LIBERA



SPECIAL GUEST: ACQZUEL (Cluj-Napoca)



Acqzuel va este deja cunoscut, in special prin prezentele sale din trecut pe line-up-uri alaturi de DJ ca Tes La Rok sau Coki si la festivaluri de anvergura din Romania ca TMBase sau Get Out! Fest. Showcase Techno, Dubstep, UK Funky, UK Garage sau House via Cluj-Napoca de la un DJ complet la editia 13 BASICS.

HOST: TONÉ (BASICS - Bucuresti)

Mai multe informatii si materiale audio se gasesc evident, pe Facebook - pe pagina evenimentului.

BASICS recomanda: Margaret Dygas - FACT Mix 197

Soundsystem-ul e de obicei destul de ocupat in headquarter-ul BASICS, insa reuseste sa livreze suficient material audio pentru o selectie de recomandari saptamanale. So:

Saptamana asta, prim plan pe Margaret Dygas si al sau FACT Mix 197. O colectie de 16 track-uri facuta publica de prima doamna a label-urilor Crosstown Rebels, Non Standard Productions si Perlon via FACT Mag, in Octombrie 2010.



Incursiune de 60 de minute prin low-pitched Dubstep, Techno de import Berghain si stripped-down House, in care curatenia mixing-ului si range-urile mici de bpm sunt (doar aparent) sacrificate in favoarea unei selectii absolut superbe, din partea unei prezente mereu-incantatoare la deck-uri.

Dorisburg, Pinch, Emika, Cyrus, Ben Klock, Deadbeat sau Pursuit Grooves creeaza un soundscape unic, perfect ca fundal sonor pentru cei dintre voi care inca lucreaza la lista de resolutions pe 2011.

01. Dorisburg – Mima [Amiara Recordings]
02. Emika – Double Edge (Acapella) [Ninja Tune]
03. Emika – Double Edge (Pinch Remix) [Ninja Tune]
04. Rob Sparx – The Prayer (Cyrus - Random Trio Remix) [Dubting]
05. Ne Ne – Kala [FMP Records]
06. Deadbeat – Mecca Drum Jack [Wagon Repair]
07. Ben Klock – You [Klockworks]
08. Luc Ringeisen – Sahara [Vinyl Club]
09. Oska Offermann & Moomin – Joe MacDaddy [Aim]
10. Modeler – Mint Condition [Dubsided]
11. Pursuit Grooves – Mr. Softee [Tectonic]
12. Staten Island - Aquarium [Kann Records]
13. O. Poliakov – Besides [Bass Culture]
14. Krause Duo UP – Spalter [Philpot]
15. Unknown – Give Me Something To Dance To (NWA) [RAL]
16. I Don’t Remember – It Got Lost [Sorry Recordings]