Couple of big shows this weekend…
Greg Wilson appears at Howard Marks & Friends, tonight at Kentish Town Forum:
While tomorrow Todd Terje drops his all conquering live show on Elephant & Castle, for Rinse FM at Ministry of Sound
Couple of big shows this weekend…
Greg Wilson appears at Howard Marks & Friends, tonight at Kentish Town Forum:
While tomorrow Todd Terje drops his all conquering live show on Elephant & Castle, for Rinse FM at Ministry of Sound
The Norwegian Maestro Join The Pool
Hot of the heels of re-issues of 2 of his classic albums Trøbbel and Nedi Myra on Smalltown Supersound, we caught up with the man himself who has given us an illuminating insight into his world. He has also given us a a series of live mixes, you can catch part 3 below, in his own words “old school pirate radio-ish”. Keep your ears to the ground for parts 1 + 2 coming soon on Pool Podcast!
Hey Bjørn! How’s it going, what have you been up to?
It’s going pretty well. My main projects as of late have been remixing a variety of artists, both Norwegian and international. Norwegian singer Susanne Sundfør, who is an acclaimed solo artist as well as a collaborator with Röyksopp. I also did a remix for DFA, their recent release with Museum of love. I have also travelled as a dj, being in various countries likeGermany, Poland and Japan. And Turkey.
The reissues of Nedj Myra and Trøbbel Smalltown Supersound have been getting a great reception, are you enjoying seeing some of your past work re-mastered and reaching some new listeners?
In this regard I’m happy with the releases getting a re-release for new listeners as well as anybody who might have missed out initially. For my own personal satisfaction there is also the remastered vinyl versions. “Trøbbel” has especially had a quite appropriate “face-lift” in that respect.
What first made you to turn your hand to music?
My personal interest in the matter, first of all, but also my aversion to joining a conventional lifestyle. Just finishing 12 years of school and suddenly being what I then perceived as being a free man helped push the decision. Of course, now after 25 years I’m stuck with music and don’t really have any healthy alternatives. But please don’t misunderstand me – I’m as fond as ever of doing what I do! Do you have a process for creating music?Yes, but it kind of changes all the time. With age I am however getting more and more accustomed to applying “method” to my creative impulses. In short, I’ll apply experience to ideas. It works for my conscience regarding obligations, but it doesn’t always pan out as expected. Which again, is in itself a motivator for going on.
You are part of several live projects, could you tell me about these?
Well, I have been working so much on my own through the years, so the “band” thing came along as a sort of relief from musical solitude. My band partners are also coming from slightly different traditions, and have worked as benefactors to my music as well as my attitude. The band situation is completely different from my experience as a solo artist.
You are often cited as an influence for many of the Norwegian acts that have risen to prominence in recent years. Who was your mentor?
In general, good music I’ve heard. In particular, apart from good music, it has to be people like the innovators of the Detroit techno scene, like Derrick May and Carl Craig, all the way to more local talents like Strangefruit from Mungolian Jetset, Prins Thomas, Erot, the Röyksopp guys. Hearing brilliant music is valuable enough in itself, but getting to see and hear a musically creative process is priceless education for anyone who are interested.
You have an extensive body of work that spans many ideas and styles, do you feel that there is a common feeling that runs through your music? If so, what is it?
The way I understand music in particular (and art in general), is that it is a mix of so-called “tradition”, and technique, mixed with personal impression and input. This is a simple explanation though. But I’m usually sensitive to musical input, and try not to be prejudiced about what I hear. This attitude I also employ in my production. I rarely feel comfortable on safe ground. I want to explore. That is my main motive, I think. Some people want music to recall a past memory, a familiar feeling. I primarily want music to get me out of that, to explore new territory. Anti-nostalgia, so to speak.
What do you feel is the relationship between your productions and DJ’ing?
The dance floor as a common fixture, at least in my own ideal setting. Not everything I make is necessarily considered “dance floor friendly” – neither is everything I might play as a dj. Yet I have an impression that you can play very much what you like if the situation is spot on, and then it’s up to you (or me) to have the right “weapon” for the job. Or rather the right spice for the pot.
You have spoken in the past about your DJ influences, from Ron to Harvey, and creating a ‘rich tapestry of music’ over a long and eclectic DJ set. How do you go about selecting music for DJ’ing?
I tend to put the label “house music” on about everything I choose to play. I guess it is the vibe I’m after, where it is possible to introduce unknown but working elements into a house vibe. As disco and house are two sides of the same coin, so is funk and jazz, soul and reggae, elements of the same heritage. Within each style, there are elements of house music.
I have a small selection that keeps staying in the bag. Classics, in the sense of stayers, and not necessarily “hits” bound to a specific time period. Then I’ll have a round the night before prior to each gig or round of gigs, just popping through various parts of my collection, more or less at random.
For you, what is an ideal DJ gig?
The ideal DJ gig is a good sound system, a crowd of perhaps 300 willing people that stays for the whole night, and preferably refuse to leave. Playing together with another dj can also be very rewarding, if the social and musical chemistry is right.
Do you remember the first time being booked outside of Norway? How was the experience?
As a DJ I think this was either Copenhagen or Berlin, in 1995. Both very rewarding experiences. In Copenhagen I played from seven o’clock in the morning, maybe for 3 or 4 hours. I had gone to bed at eleven the previous night, woke up at six, had breakfast and went to work. It was a huge techno festival, and the venue I played could probably keep 1500 people at least. I guess there were 150 dancing when I got on after a London dj playing the most intense gabber for one hour. I remember I started with the remix of Psyche’s “Crackdown”, the remix with the percussion from Soft Cell and Sarah Gregory on vocals. Still comes out from time to time.
Is there one track or release of yours you can say is your favourite?
It could be my first album release, under the Ismistik moniker, which came out on Djax-up-beats in 1995. Probably because I have distance to it in terms of time, but also because the process and means of producing were very simple, and I think I managed to exploit the limitations.
Can you tell us 5 records out of your current DJ bag?
Idjut Boys – “World 1st Day” (Altzmusica 7″)
Dj Sotofett & Karolin Tampere feat. Maimouna Haugen – Nondo (Honest Jon’s 2×12″)
Velferd – Awake (CDR demo)
Young & Vincenzini – Outrageous Beat (Pro Sniff 12″)
No Smoke – Koro Koro (Warriors Dance 12″)
What do you have lined up for 2015?
Plenty of work. More remixes. Dj gigs. Maybe some composition of music for a theatrical group.
And I’ve vowed to complete some new solo material for a release. At least one twelve-inch.
POSTED INBjørn Torske
THIS IS RUFF
Australian imports are at an all time high around The Pool HQ. We’ve fallen for the bright and breezy aural tapestries of Andras Fox and have become sold on the lithe dance gymnastics of Bell Towers. Now we’ve found ourselves getting in full lather over the fierce and funky output of Melbourne’s own Zanzibar Chanel. To explain the ZC aesthetic would require one to consider watching a cross pollination between Ru Paul and William Onyeabor, or maybe think to think of a show that dabbles in the transgressive stage antics of GG Allin with a Jump Street bounce.
Their record label Ruff Records was touted by Dazed Digital as one of their 10 labels to push things forward whilst the guys managed to inject Boiler Room with a unique sense of the sublime and the absurd that can be viewed on their infamous performance in 2013. Part Sid Vicious, part Sandy Ninja the guys can be described almost continually it seems with neat juxtapositions.
However as is always the case it’s best for The Pool to stop its yacking and get the guys to tell all in one of our question and answer sessions…
Before we dive in to that we thought it would be nice for us to share some of ZC’s top moments from the web…
We kick off with a rolling slab of piano drenched house that chops you harder than a ruffled Chuck Norris. The video features the guys getting intimate with their instruments….
Nice live piece conducted for Wunce magazine, it’s hot and wet don’t forget…
The infamous Boiler Room…
1. Hi Zac! Welcome to The Pool. To the uninitiated bystander tell us what Zanzibar Chanel is currently?
Two Australians making tracks in a grandma house by the side of a highway…
2. And what was Zanzibar Chanel when it started? Has there been any movement away from this?
An outlet for suburban boredom and the frustration of being trapped at the end of the earth. I think if it had been a different decade we would have been a punk band, but we already had synths, an MPC and were obsessed with house. Melbourne is renowned for being a place where people are painfully self aware, pretentious and stand still at gigs.. but the club scene was the one place that seemed a bit more free and expressive. it also happened that there were some really amazing DJs and producers using the club platform to push interesting stuff, it felt exciting, vibrant and open to participation.
We started making simple beats with the same sense of urgency as a garage band, making 4 tracks in one sitting and performing them at art galleries and our friends parties. I would scream at the crowd to dance and not give a fuck, and they would… the more i screamed the more everyone would go crazy, even those who thought it absurd to have a fat person in drag screaming over funky tracks would eventually let loose and join in. dance is a pretty powerful tool of freedom and expression, it can break down social boundaries and create an inclusive space for people to engage with each other physically and spiritually….
Nothing much has changed, although the music has gone way further and reached way more people than we ever thought it would, we thought we were just making music for our friends and for our city.. we never thought anyone in the rest of the world would even hear it!
3. The production aesthetic of ZC- talk us through it. We’re feeling it’s one take machine music with keys and knobs…..
Yeh, its about distilling melody and vibe into something thats tangible and not washed out with bullshit effects. We are just trying to create something unique and interesting with the tools we have, which are mostly crappy digital synths, keyboards and an MPC. its all about pressing the buttons and seeing what happens, feeling the vibe and being too lazy to over-do it…
4. Maybe this was a tongue in cheek reference but in a previous interview ZC mentioned GG Allin as a source of inspiration? Does ZC take inspiration from Mr Allin’s raw and visceral performances? Can we expect dung and fighting at ZC gigs?
Haha!! The only thing i like about GG Allin is that he had a micro-penis and still got naked on stage (see any live video for proof)… I’m into poo, but not into violence….
5. Aside from this can you pick out some other sources of inspiration for us?
for Luis i would say weed is the main inspiration.. for me its more about a vibe than any specific reference points, when there is a certain energy or feeling I want to create something and attempt to articulate it..
6. Zac we saw that you spent some time in Europe this year. What did you get up to in this time?
Yeh! i was trying to get into this European art academy but i didn’t get in! so i just spent alot of time reflecting and chilling.. I played some shows towards the end of the trip which were great, with my German pal Arthur Rieger filling in for Luis… It was pretty important for me to get some perspective on Australia and what is happening here creatively. It made me realise what rich creative communities we have and how great it is to be so far away from everything, its a really intense cultural microcosm… Looking forward to getting back to Europe and showing the world what we got!!
7. We’ve really loved both of the ZC EP’s released thus far and the recent remix on UTU was rather fine. Tell us what more we can expect from ZC in the future?
I’m running a record label called RUFF RECORDS, which has just had its 4th release and will be continuing with plenty of unheard Australian stuff and collaborations/ spin-offs of Zanzibar (of which there are many)… we also have a concept LP in the works called ‘Australian Graffiti’, an homage to this great photography book by Rennie Ellis… And a bunch of stuff that has yet to be properly released, which will hopefully make it out this year! so lots to look forward too…
So there it is….We are happy to announce that the guys will be touring Europe in April….
firstname.lastname@example.org for all enquiries….
MAN AT WORK
Greg Wilson heads down under shortly for a series of shows in later December/early January, don’t miss if you’re in the area!
Interview and mix
2014 has been a vintage year for Hugo Capablanca. Shifting up gears with his label Discos Capablanca, a Beats in Space mix that we couldn’t stop playing followed by a knock out performance on a gloriously psych sunny afternoon at Bestival for Harvey’s Discotheque. To celebrate, we had a quick chat with the man himself about his past, present and future and he has kindly recorded a brand new mix for us, enjoy!
Hello Hugo! How’s it going? You have recently returned from a US/ Mexico tour, how was it?
Hey Jacob! All good man. Honestly arrived back in Berlin last night pretty exhausted from the tour and I’m off tomorrow already to play at Lux in Lisboa, but it was so worth it. Pretty fucking crazy too!! I did two of my favourite spots in Mexico, the brand new Kin Kin in Guadalajara, lush sound for just about 150 people and killer vibes, and MN ROY which is that one in Mexico City that looks like a random pink Mexican house from the outside and a sort of modern Mayan pyramid made of glass and wood from the inside. Their out of this planet mezcal cocktails and a really wild, hi end crowd high on mushrooms made me go for about six hours!!! One of my favourite places on Earth and a night to remember for sure. Little sleep but great times!
The States were pretty out there too, my debut at Le Bain with Mike Simonetti and I B2B was really wild too, always fun to play with Mike, packed dancefloor with insanely hot people and… yeah smoking cigarettes and talking shit in between sets at the roof haha! You know taking a fresh breath over the most impressive view of NY night skyline felt as good… I don’t know, it just feels great. I think everyone had a rad night there, Neil and the guys loved it. Bossa Nova Civic on a Monday was pretty cool too! It reminds me of that Club Berlin in the film After Hours, which can’t be a bad thing in my book. And, what else, yeah of course last but not least at all, The Electric Pickle in Miami, Thee Room, LOVED that place! Can’t wait to be back really. Amazing place, amazing people, amazing sound…
Miami overall was badass: killed my days at the beach drinking cocktails, got burned too (being end of October I consider that quite an achievement), learnt how to extract aloe straight out of the plant and get pure hippie Earth goodness and heal my burnt skin like magic, got to meet Roman Flügel at a lovely dinner my friend and host Diego organized for both of us… can’t complain really. It’s been a blast!
Nice! Any musical highlight’s from the summer?
Mehmet Aslan’ Mechanical Turk is the tune of the summer of love and beyond, for sure. It just came out but I have been playing it nonstop since its first version and its just… you won’t get tired of it. Instant classic! Just got my hands on the first release of the infamous Australian blog slash radio show now turned label, Noise in My Head as well. First reference is new Suzanne Kraft material and is just too good. Keep an eye on both label and artist, and won’t tell about Suzie’s alter egos yet but… do your homework and what you might find might blow your mind.
Anything Samo is doing lately glues with my bag so well it won’t leave. Anything Public Possession releases really. Sotofett been on fire for too long it’s not even worth mention! But been playing a lot of his stuff this summer. Trippy disco from the future! The Fantasy jams from Detroit! Also more like stuff to play at home, or while the sun sets in a desert, next to an oasis, or while the sun rises in Bali, for example? really diggin these early electronic jams by Mammane Sani et Son Organ from Nigeria. Just a dude and its organ and it’s so sick it’s embarrassing. Quit whining about all that gear you need! Just do it! Funk Punk!
You have a residency at Berlin club Renate, one of our favourite joints in the German capital. How has that been going? What is it about that place!?
I’m proudly holding a residency at the infamous Paradisco parties, product of the twisted mind of that Tasmanian devil that is Paramida. Although I’m travelling so much lately I hardly get to play there anymore! HA HA! I’ve been throwing some of my own label parties there as well, the first one with Baris K was nothing short of legendary. I’m not bluffing! And that talking about Renate that is saying a lot! Love that club so much really, it’s such a fun mess, it’s a delirium!
Your label; Discos Capablanca seems to be really heating up this year! What have you got on the horizon for us?
I’m glad I finally managed to put out more than one record a year. I’m very proud of myself! I’m one of those quality over quantity guys, but it’s a good thing to maybe give a flying fuck about your label too! So this year I managed to put three or four releases and I love all of them, and the plan is to keep on speeding up but keeping the high quality standards and the spaced out vibes and the raw jams, until I manage to release in a year what Ron puts out in a month! That’s my goal!
Coming up: possibly new jams by elusive Detroit maestro Sharif Laffrey if he manages to Polish some more gold, Japanese rising star Keita Sano is about to drop a bomb, jungle ketaminic jams from one of the SF Monsters, Naduve from Tel Aviv with a dancefloor slasher acid take by Man Power, a new series of compilation EPs about invisible cities or maybe psychogeographical recordings… good stuff!
You are originally trained as a visual artist? How do you feel this influence manifests itself in your work as a musician?
Well I guess I started playing records for fun while in art school with a quite unusual approach, I always gave priority to the music over the mixing and that gained me a lot of hate and a few followers too. I can’t stick to a certain style or genre before I get bored and I like to create unusual situations in the dancefloor. I’m not your deep house kind of DJ so to speak. That’s an influence from those amateur artsy days were you were encouraged to find your own scoop on Art, your own vision, you know? and even though nowadays my main occupation is DJing and I do obviously mix and all I still see playing records as a sort of performance and I like that. I like to read the crowd and feel their energy and make them dance as much as I can but I also like to play with the surprise factor and keep things exciting. I want each set to be an unique experience and I rather fail than being boring. And please kill me if I change my mind!
For bookings contact email@example.com
POSTED INHugo Capablanca
Along with the rest of the club music fraternity (or so it seems), we’ll be in Amsterdam this week. Some great shows going on, and we might even take a meeting as well! So if you want to have a chat, drop Matt or Rob a note/call/carrier pigeon.
and the important stuff…
Harvey @ DGTL
Mr Ties plays VBX…
Discodromo at Horizon
and Young Marco at Trouw for Rush Hour
And you can check out local boy Marco’s guide to the city here, courtesy of The Guardian -
start the bus…
Harvey lands back in the UK later this month for a series of 3 shows.
If you haven’t already – get on the bus…
Bestival & Unknown September 2014
Few shots from last couple of weeks on the road with Harvey:
and obligatory shouts to those that made it great…
PBR Streetgang, Hugo, Eric D, The Pachanga Brothers, Daniel Avery, Tayo, Shaun Fabric, Horsemeatdisco, Mickey, Brad & Vic (Cut & Shut Disco), Robbie & Dina and all at Bestival.
Eric D, Optimo, Daniel, Erol & Phantasy, Shaun and Kerry (Dirty Talk), James & Gilles (SS), Harri (Subclub), Bad Passion, Man Power, Alex Backroom, Paramida, Dan & Hamish & Michelle and all at Unknown..
ride the wave..
Just back from Tisno, another absolutely belting installment of the Garden Festival.. Huge thanks as ever to Nick, Eddie, Charlotte, Gail, Petra, Damo, Dave and all the festival family who made it such a great few days.
Also great music from Greg & Marco, Tom & Bonar & Justin V, plus: high fives to Rob, Cecilia, Scandinavian/NYC rave squad, Ben UFO, Dan, Matt & R$N steppers, Duncan, Tiago, team Paqua, the sound guys, the dancers and everyone we met, hugged, tripped over along the way!
TAGSArgonaughty, Boat Party, Croatia, Garden Festival, Greg Wilson, The Pool, The Pool DJ's, Tisno, Young Marco
How are things in Dusseldorf? What are you currently up to?
Things are working up in Düsseldorf! A lot of new projects are evolving at the moment, in the city itself, or around the city.
I am still recovering from my ride to Amsterdam last weekend, where we celebrated the release of Montezumas Rache’s “Wu Du Wu”, had 6h Themes For Great Cities Instore at Redlight Records, and where I met Young Marco to talk about our upcoming live-show.
Do you mean projects in general or music related projects?
Music related projects, there are new Themes For Great Cities releases planned, a new Edits Des Amateurs release, a final release on Verein freier Menschen & Musik is in the making, our Mülheim (which is a small city nearby) friends Tim Schumacher and LL DJ are planning to setup a new label, Lucas from Stabil Elite has a new project called “Bar” coming out soon as well.
And thats not even all!
Sounds very healthy. How is the music scene in Dussledorf? Does Dusseldorf have a ‘sound’ that can be traced back to the city?
The places to celebrate music and especially that Düsseldorf sound are rare, but there is a eruptive underground scene that relates to the musical history of the city. The Salon Des Amateurs, run by people like Tolouse Low Trax, Lena Willikens, Marc Matter was and still is an important spot for the more open minded listeners.
You can hear everything from early Kraut Electronics, underground Neue Deutsche Welle dance tracks to “future-classic” experimental dance music.
Otherwise it is kind of hard in Düsseldorf to celebrate electronic dance music as the venues are vanishing at the moment, and the city shows little interest in keeping a vital scene.
But nevertheless a lot good people come up at the moment and push things!
Could you tell us more about the infamous Salon Des Amateurs?
The Salon Des Amateurs is located in the 1960s Beton building called “Kunsthalle Düsseldorf”, in the daytimes the Salon acts as the café to the museum.
In the beginning, which is almost 10 years ago now, it was generally used more like a bar, but over the years and because of the special music programm it evolved more and more into a club with extremely crowded weekend nights.
I still get goosebumps remembering the first nights I spent there, with DJs like Gordon Pohl (Musicargo), Tako (RDR), Beppe Loda, I-F and of course the hosts that I mentioned above, and lots of more unforgettable evenings.
Those nights showed me that its possible to create dancefloors with music that I never dreamt of seeing a whole room go crazy on it.
The first time they asked me to play I was so excited I had shaky fingers all night long!
You are now resident of the club. How often do you play there and do you have a music policy?
Although I was so mad excited the first nights I was invited to play, or maybe because I was so excited i got into the team really fast. Nowadays I am more or less doing one evening in the month, alongside guest DJs, or with Tolouse Low Trax who hosts most of the saturday nights.
We also sometimes host special ambient or jazz or other experimental nights during the weekdays, but it’s more for us to show new record discoveries, or play out new stuff in the making.
My music policy is a classic “There-is-no-music-policy” policy, haha. I try to sort music by my emotional impression of it, and not by genres or styles.
I am also free to very diverse pitching ranges while I DJ, it all depends on the evening and the spirit of the moment.
Care to share 5 of your Salon favourites from over the years..
“Lobt Noch Irrt – Heizgas Meter”
This one was Tolouse Low Trax’ big salon hit,the whole room went mad everytime this was played, amazing memories
“East – Agymosas”
Another track played by Detlef (Tolouse Low Trax) that i never heard raising a dancefloor like in the salon.
“A.R. Machines – Globus”
I played this out at one of my first evenings in the Salon, and the whole room was jumping, since that moment it became a classic.
“Sparks – Tryouts for the Human Race”
This sounded like it was made for the sound system in The Salon, when the live drumming kicked in it was always some very special moment
“Plaza Hotel – Bewegliche Ziele”
At 33rpm, i think Tako played it out the first time, and it instantly became a Salon Anthem.
You record and DJ under different aliases. Can you takes us through each of these and how they differ in sound?
There was never a plan to collect alter egos, haha.. but somehow it ended up like this.
The Wolf Müller records are krauty, percussive drum tracks, that also happen in collaboration with befriended musicians. I always felt Wolf Müller not really as a person, more like a spirit that wanders around and is always there when this german tribal dance thing happens.
The Bufiman tracks are my approach to four-to-the-floor orientated dance music, with more classic structures in their arrangements. I recently finished a new Bufiman EP that will be announced soon on a super nice and classic dance label!
For that Edits Des Amateurs record Arne from Themes For Great Cities came up with the idea for the name “Diskoking Burnhart McKoolski”.. as i didnt want to use my real name for edits at that time. It refers to the german label and huge german dance music distributor from the 1980s, Bernhard Mikulski.
Can you tell us about the mix you recorded for us?
I think it gives a nice overall impression of styles i like.. going from spiritual ethno-dances to amazing music from friends like Harmonious Thelonious, containing some of my own edits, a very drum orientated track by Circuit Diagramm from Hamburg, some more percussive edits, Sotofett’s Mix of “Denaji – Wuhti” and at last some local classics with Die Partei’s “Nord-Süd-Fahrt”.
What are you up to over the summer months?
I am heading to London on June 19 for a small Themes For Great Cities special at Plastic People and a Boiler Room afternoon session on Friday 20th, already looking forward! : http://www.residentadvisor.net/event.aspx?603969
Next big thing will be the premiere of the Young Wolf live show at Düsseldorf’s Open Source Festival, on the same stage as Dean Blunt, Panda Bear, and lots more.
Then we are also planning a small TFGC Summer Party in collaboration with indepent event calendar “suffon.de” on August 2, and I’ll also leave Düsseldorf for some very nice small hippie festivals!
And finally your ultimate Pool Party line up?
Grill Chef : Definetly the Georgian dudes that work at the Salon Des Amateurs, Alex, Kakha, Beso and Luca. They are pro-level at the grill.
Manning the Stereo : Tako from Redlight Records & DJ Armin Schmelz from Tingel Tangel Vienna, my favourite Discjockeys.
Serving Cocktails : The team from the King Georg Bar in Cologne, they know how to get you intoxicated!
Thanks Jan, have a listen to Jan’s mix for The Pool here:
Catch Jan in London on Thursday at Plastic People and in the Boiler Room on Friday.http://www.residentadvisor.net/event.aspx?603969