The Oliverwho Factory interview

The Detroit-based group The Oliverwho Factory (they go simply by the names Darryl and Shone) is a bit of a mystery. With a scant 10 releases under their belt since they premiered on their own Madd Chaise Inc imprint in 2003, they have created a name for themselves that is rarely heard but when it is, it’s uttered in a reverent tone. Their sound is one that doesn’t fit easily into a box; its raw and electrifying blend of soulful house and jackin’ techno has likely made them hard to market out of the gate. Which was a problem for Darryl’s previous incarnation on a major label under the name Oliver Who?, a deal that only yielded one album that focused on a range of R&B styles. That experience may be why The Oliverwho Factory are reluctant to enter into the spotlight. Whatever the reason, it’s only a matter of time before the world realizes what they’ve been missing. After sticking to small quantities of vinyl through the years they’ve made the jump to digital distribution with What People Play and saw their gorgeous slice of strut-your-stuff house “Together” featured in the mix on Tama Sumo’s recent Panorama Bar 02 mix CD, two events that will surely get them more of the exposure they deserve. In a rare interview with Energy Flash they shed some light on their beginnings, their inspirations and possible customer appreciation day next year.

Q: How did the Oliverwho Factory and Madd Chaise become a reality? Are the two synonymous, in other words was Madd Chaise created as an outlet for just your own productions?
A: We love Techno and House music! The thing that we noticed was that there wasn’t a whole lot of music that had those combined elements. Vocals were not really the thing to do with certain styles or arrangements. We wanted to change that! Oliver started creating sounds and placing them up on the now defunct MP3.com. Barrie at Rubadub took notice of the music and contacted us. Things started to grow from there. Madd Chaise was established in order to make us a legitimate company .

Q: Where did the names for the group and label originate?
A: Oliverwho Factory originated from the artist previously known as Oliverwho? (LOL) He was an experimental artist that had signed with Zoo/BMG. Unfortunately at that time Oliverwho? was too complex cause he could play all types of music from rock to, jazz to pop, therefore the label really didn’t know how to categorize/market him. …not R&B enough and not Rock enough. Interestingly enough that type of labeling or lack of label still follows us today which has defined who we are. The “Factory” came into play when “Shonie C” arrived. Just like a factory has many different components to make a “product,” she brings in the other elements of sounds to complete the whole package.

Madd Chaise not to be confused with the other MADD. It is just another part of the obscurity. If things were too easily identified some of the excitement is lost. The Extra D is for emphasis; some people use the word ‘mad’ to describe the term “crazy.” Chaise pronounced, “chase,” is just that. “It’s a mad chase in this crazy world…” People are always chasing something riches, notoriety, their dreams…etc.

Q: Are your two the sole members of the Oliverwho Factory? And if so what are both of your roles in the production of the music?
A: Yes. Oliverwho plays all instruments, writes and produces. Shonie (performs) vocals, writes and produces.

Q: How long have you both been involved in music and in what capacity before starting the Oliverwho Factory?
A: Forever! Oliver involved since around six is when he started playing drums. 1986-Spectrum Records released Oliverwho?’s “Fairytales.” 1992-Shaka Who Who Zoo/BMI, 1995- toured with Aaliyah on her European tour, Blackground Records -keyboards. Currently dance music…

Around eight Shonie began playing the piano. Wrote first song “Macaroni & Cheese,” still shopping that one. LOL. Continued to be active in all types of music from Opera competitions in high school, placed 2nd in Michigan choral vocal association first record, exciting times! Went on to sing here and there. Met up with Oliverwho and still making music.

Q: Your tracks range from deep and soulful to tough and experimental while always keeping a jazz or funk element of musicality present in the productions. What types of artists or experiences have helped shape your sound?
A: Pat Metheny, David Bowie, Loose Ends, Lenny Kravitz, Joyce Sims, the Police, B52’s, Parliment and many, many more. Experiences: Dancing in a club back in the day that was actually warehouse known as “The Warehouse.” And how we love the era of the 80’s!

Q: Your tracks also have a raw and under produced feel, is that a factor of the equipment or recording technique/approach you take?
A: We really like the feel. Our first song had a dirty, grindy, feeling that gave our music an old school sound. It became our signature we decided to stick with that identifying yet odd mood, making tweaks here and there.

Q: Coming from Detroit what artists from the city have been the biggest influence on you and why?
A: Stevie Wonder what more can one say! Pure genius. George Clinton he was one of the most theatrical and obscure as obscure can be. Pure elements of funk and soul! Carl Craig very inquisitive and an interesting person, we really appreciate the fact that he is that way in regards to his music as well. He takes risks and continuously steps outside the box! Kevin Saunderson-not afraid to have a good time nor use vocals. His interaction with his supporters fantastic. Stacey Pullen-his playing is bananas he played our J’David remix over in Europe, we’ve been supporting him ever since. Of course Rick Wilhite- he played our very first release “U Don’t Know, when everyone else said it sounded “muddy” (was meant to sound that way) thanks Rick! The pioneers of this whole dance phenomenon they know they are, without them putting Detroit on the map, it would have been difficult for newer producers to make some noise.

Q: How do you see yourself fitting into the Detroit techno and house scene? Are you tight with the more established and well-known artists or are off doing your own thing?
A: We support both scenes, for our music is greatly influenced by both. When you say tight, like homies (Lol)? We are cordial with everyone, no tension at least that we know of. We do share some interests with C2 and Monty Luke. They are a couple of nice guys.

Q: Would you say your music (songs like “We Are”, “Solitaire” or “Set Me Free”) is message driven? And if so what are some of those messages (vocals or not)?

A: Yep-Let’s take “We Are,” Did you know that there is only a 4% difference in the DNA that we as humans have? But yet so many people want to separate and divide when we are all so alike…

Q: You keep a low profile while producing some of the most exciting and creatively inspired dance music. The fact you have only been pressing a few hundred copies of releases and were previously vinyl only helped keep you obscured, was that part of an original plan to keep the label underground?
A: THANKS, Yes. Don’t really like a lot of attention, just appreciation ) however we may have a customer appreciation day or two in 2010…Underground is just where we feel most comfortable.

Q: How did the decision come about to start releasing digitally via What People Play? Will you continue to release vinyl for future projects?
A: An opportunity was presented to us to release some music digitally and we like the idea of doing this so we went full speed ahead! Of course we will, there is nothing that compares to having vinyl pressed up the look, the smell, and feel. We grew in that era and we can’t abandon it completely!

Q: With a track (“Together”) being featured on Tama Sumo’s recent Panorama Bar mix CD you will surely see more attention. Are you planning on using that as a springboard to gain more momentum?
A: Tama Sumo such a class act! Top notch DJ and all round nice person. The project has a collection of wonderful tracks and artists that is sure to make some noise!! So if we are noticed then that is an added benefit, but we are honored just to be a part of this compilation.

Q: What will your Alternative Soul division sound like and when can we expect to see the first release?
A: Old contemporary Classic with a New Wave.

Q: What will 2010 see from both the Oliverwho Factory and Madd Chaise release-wise?
A: More heart and soul!

Juju & Jordash Interview

Juju & Jordash are giving dance music a good kick in the pants right now, plain and simple. They aren’t alone, but they are perhaps the most exciting. Combining their countless years playing jazz and be-bop in bands and electronic production techniques they are creating thrilling new strains of house, techno, dub and jazz. They have an appreciation for older music eras but aren’t bound to those traditions-check out their Off Minor radio shows for evidence of this fact. This is readily apparent on their 2nd album, Juju & Jordash, which is due out on Dekmantel later this month. Tracks like “Jazzy Trance” and offer up a peak into an alternate universe where Ornette Coleman, Farley Jackmaster Funk and Ralf Hildenbeutel became the Traveling Wilburys. And on “Dirty Spikes” J&J go balls-to-wall italo combusition. But they also dial it back for reflective moments of murky piano, terse middle eastern motifs and shimmering cymbals as displayed on “Jugdish.” I caught up with the two of them to get their perspective on making Juju & Jordash and ended up talking movies, bacon and a bit of politics.

Q: Your bio states you met in Israel, but where are you both from and how did you end up there?
Juju: I was born in Haifa, Israel and my family still lives there.
Jordash: I was born in Columbus, Ohio. My folks moved to the holy land when I was 8.

Q: Are you Jewish and if so how do you feel about bacon? Does religion or politics ever enter into your music, and if so how is manifested?
Jordash: Haha…depends how it’s prepared! Of course, like all good jews I love bacon and shrimps.
Juju and I are usually pretty damn pissed off when it comes to Israeli politics so naturally it seeps into our music – anyway all music is political.In our live show it’s been playing a more overt role – especially if you know Hebrew.
Juju: Yeah, my birth certificate says Jewish, but if there is a God I can’t imagine he would be against bacon. Our most political song was Blue Plates (on Real Soon). That one had some sporadic anti occupation vocals, but not many got it cause it was pitched way low.

Q: Can you translate the vocals or describe your feelings on the occupation?
Jordash: My feelings are too overwhelming to describe in polite written words… They are best expressed by yelling obscenities in Hebrew followed by swallowing a Xanax or two… If your readership was Israeli I would gladly delve deeper into my opinions, but I don’t really feel that Americans/Europeans are necessarily the right people to address with my political ranting.
Juju: The vocals change spontaneously from show to show, because unfortunately every new day in the middle east brings a lot to be depressed, angry or at least confused about.

Q: How did you two begin collaborating on music? And what specifically led you to electronic dance music?
Jordash: We used to play jazz together… Juju played guitar, I was on the piano and together with our friend Ilya on double bass (who occasionally contributes to J & J projects) had sort of a hard-bop and free jazz trio. I was already involved in electronic music at the time, and juju was always into new sounds and experimentations, so I guess our collaborations naturally developed.

Q: You both live in Amsterdam now, when did you move and why? What do you like about living there? How has it impacted your approach to producing music?
Jordash: I moved here a few years ago. I just had to get the hell outta dodge! I always liked Amsterdam – sort of the complete opposite of Tel Aviv (for good and for bad). Amsterdam definitely gave me the peace of mind and seclusion I needed.
Juju: Amsterdam is a great city where everybody can have his own quiet corner if he wants – perfect for concentrating on making music. It’s nice to live close to many great record stores, most notably rush hour. A lot of dope parties around town as well.
Jordash: …and coffeeshops.

Q: If you could think of one defining element of your music what would it be?
Juju: Unpredictability

Q: You two stand out from most dance music getting produced today. Can you tell me where you see yourself fitting in (or not) and why?
Jordash: Hmmmmm…I think we kinda like to believe we don’t fit in cause we’re full of ourselves…lol…but actually we’ve been fitting in all along. A lot of ‘deep house’ people are very open-minded and know their music. What I’m getting at is that people who love funky music and not only house/techno music usually get us.
Juju: The first guys that gave us a break were people from the Detroit house scene like Reggie Dokes, Scott Ferguson and later Keith Worthy and Patrice Scott. But there is quite a big range of styles and tempo’s in our productions that cater to many people, from the heads to the techno dudes and cosmic beards.

Q: Who do you look up to in terms of music pioneers? And contemporary artists?
Juju: Pioneers: Thelonius Monk, Herbie Hancock, Sun Ra, Larry Heard, Juan Atkins, Scientist
Contemporary: Theo Parrish, Reggie Dokes, Legowelt
Jordash: The list is almost as long as the number of records I’ve ever bought! If I had a gun to my head I would name Eric Dolphy, Miles Davis, Herbie Hancock, Lee Perry, Cabaret Voltaire, etc… etc… etc… and all of juju’s names as well…lol.

Q: How do you think the new album differs from your first album, Major Mishap? Was there a different approach or concept taken?
Jordash: Major Mishap had a lot more jazz in it. We were really into writing scores and working with horn/sax players at the time. Besides that, the approach was similar.

Q: Major Mishap seemed to be a fairly slept on album, are you getting more attention with the Juju & Jordash album and recent 12″ releases? And if so why do you think that is?
Juju: I think the main reason is that it was only released on mp3’s. We still plan to release some of those tracks later on Vinyl or at least CD. Hopefully people will go back to check that out after the current album.
Jordash: Well in general things have been picking up gradually since our first release – we don’t expect our music to ever blow up suddenly – we’re in it for the long haul. Regarding Major Mishap — I think it was hard for us to promote an mp3-only release — it just didn’t seem that real. We love the tracks but it just felt weird pushing it too much.

Q: You are both obviously highly musically inclined. How much of what was played live was by you guys? And which instruments do you both play on the album?
Juju: We play keyboards, synths, some guitars and percussion. I like to think of the mixing desk as another musical instrument. Some horns and live drums were played by musician friends. No samples.

Q: Your tracks sometimes have an improvisational feel. Do your final recordings come out of jam sessions or is there a fair amount of composition prior and editing of the tracks?
Jordash: Depends… sometimes we have a specific parts we write out for guest musicians to play. Other times we just jam. Really depends.
Juju: Different tracks call for different methods. But yeah we do like late night jamming in the studio a lot, and stuff we can use almost always comes out of that.

Q: There seems to be a large amount of jazz, dub and experimentalism going on within the album without having it subscribe wholesale to any one of those genres. Can you describe how those musical style influences your approach to production?
Juju: Well as Model 500 said: jazz is the teacher. That’s why we started to play instruments in the first place and it influences a lot of the structure and interplay between the elements in our music. Jazz is all about experimenting, not only with different notes and scales in your solo but also with sounds and textures. Production-wise we are heavily influenced by classic dub and we use a lot of outboard gear from that era (70’s).
Jordash: In general we try to keep a completely open mind in the studio. We try not to think too much about it – and just do what sounds cool.

Q: The track titles you choose are sometimes humorous and playful
(“Jazzy Trance”, “Used to Hate Fusion”). Is that a strong influence on your approach to music?
Jordash: Man…the final titles are always edited down. We should start using the original file names like ‘poopymountains13′ and ‘heya heya tbizla supreme 7b’..lol
Juju: Naming is a fun part…by the time we get to do that (usually at the very end ) we often end up with something that makes us smile.

Q: “Deep Blue Meanies” has that breakdown which is quite psychedelic, was the track named after the Yellow Submarine characters or the potent mushrooms?
Jordash: “Deep Blue Meanies” is actually from the movie Vanishing Point (which the DJ character probably borrowed from the Yellow Submarine) – referring to cops. We started the track a day after I saw it. Only later we thought of the shroom connotation – kinda fitting!

Q: Since you guys are into films, have you actually written scores for any or is it more of an influence that seeps into your music?
Juju: We’ve been asked that a lot. We have scores and soundscapes for a few imaginary feature films, but haven’t done the real deal yet. we’re definitely into doing that though, as soon as the right opportunity arises.
Jordash: I’ve done scores for a few short films.

Q: And if you were to re-score a movie of your choice what would it be and why?
Jordash: I think it would be fun to take an old Frank Capra feel-good movie and replace the soundtrack with brooding dark themes- adding some post modern angst to that mofo!
Juju: Most of my favorite films already have great soundtracks, so maybe some silent film classic like Woman in the Moon.

Q: Favorite film soundtrack?
Juju: Amongst hundreds others… Naked Lunch, Sorcerer, Mulholland Drive
Jordash: From the top of my head….Chinatown, Bladerunner, Merry Christmas Mr. Lawrence, Do The Right Thing, the Lone Wolf and Cub films.

Q: Juju, you played guitar on Walter Jones latest release and he contributed drum programming on the album. Can you tell me how you made that connection and do you ever see further collaborations
evolving?
Juju: Walter is a very talented producer who I know for at least 7 years now. I got to know him through Jordash who knew him even before (they remixed each other’s tracks way back). In 2005 the three of us collaborated on an 12″ for Cisco records Japan, and we’ve sent each other since musical ideas. When I heard the first version of the track Living Without Your Love” I thought it was dope, and just offered to drop some guitars on it that I heard in my mind. Luckily Walter liked it and mixed it well in, and it ended on the DFA EP. Do expect some more joint productions of the three of us in the not to far future…the wheels are already in motion.

Q: Are there any other artists who you both would like to collaborate with?
Jordash: all of our friends at once! But seriously the list would be too long… Juju wouldn’t mind a date with Sade if that’s considered a collaboration.

Q: What’s on your tech rider? And how often do you play live and what does that look like?
Juju: we currently play live with 2 synths/keyboards, guitar/guitar synth, 2 microphones for vocals, a melodica, 2 laptops, some light percussion, a 16 channel mixer on stage and some outboard effects. Our next live shows are at the Dekmantel showcase during the ADE in October and in November at the Panorama Bar as part of the Aesthetic Audio/Sistrum night. But the more the merrier.

Q: What do you guys like to do outside of music?
Juju: Chillexing.
Jordash: Sweet sweet lovin’.

Malcolm Moore of Altered Moods Recordings Interview

Malcolm Moore started Altered Moods Recordings in 2006 as both a vinyl and digital label specializing in electronic based music without boundaries. The only characteristic essential to the label’s output has been its artistic passion for honest music that is rooted in the soul. That, and the fact that Moore prefers to take a nurturing approach to A&R, focusing on artists that are under the radar and developing their talent to the point they are ready to bloom. Artists such as Rezkar, Trackmachine, and 2Loop. Never heard of them? Well, neither had I until a few months ago. But when I finally did, I became a believer. These are artists with releases on AMR that could easily fit on several more well known labels in terms of the level of quality. And in some cases I would argue they’re even better. Why, because while Moore takes a chance on new, unknown artists, he’s doing so because he hears something truly special in their work. Moore took on my questions about how he came to this place and why he does what he does. Lend him your ear. 

Q: Can you describe a little about your introduction to electronic dance music from listening to KMOJ in Minneapolis? What were the major influences on the city at that time?
A: Back at that time (late 80s), KMOJ was THE urban contemporary radio station in Minneapolis, so there wasn’t anywhere else you could go to hear anything other than Top 40 pop music. Which was fine, it just wasn’t my thing…I was big into jazz, hip-hop and house. Anyway, on Saturday nights, they would have DJs on there spinning a mix of Chicago style house with some deep house mixed in, and ever Saturday night I’d be recording it to cassette tape. I still have a few of those tapes.

Q: You mentioned in another interview that you were originally into deep vocal house, how do you compare today’s house music scene and what was going on when you started?
A: I would have to say that today’s scene is a lot more fragmented than that of the late ’80s, early ’90s. Back then, it was just ass-shaking, deep house, some of which had vocals. Nowadays, you have a genre for practically every hour of the day, in house music alone. Hell, I even made one up: Deepcore. I’m torn on whether this helps or hurts house music as a whole.

Q: You didn’t start DJing until 2001, what took you so long? Had you always been collecting records prior to starting?
A: Money! A DJ setup went for about $1500 in 2001. I didn’t want to be cheap, so it took me a while to save up the cash to buy one – a pair of Technics 1200s and a Vestac PMC-170A mixer. And I’m glad I did – I’ve since replaced my mixer with an Allen & Heath Xone:32 but my turntables run flawlessly to this day. I started collecting records seriously in the mid-to late 90s. I never really got serious about wanting to DJ until 2000 or 2001 but I just wanted to have the records in my possession, had I decided to take the final step and get a DJ rig.

Q: Altered Moods Recordings has quite a bit of range in terms of the genres covered, was that always the intention of the label?
A: Yes, that has always been the idea. While deep electronic music with a strong bent on house has always been the focus, I didn’t want Altered Moods Recordings to get pigeonholed into any specific type of genre. This is why we have so many different types of releases on the label right now, and why that will continue in the future.

Q: What other labels are out there that share a similar ethos to yours or that you respect?
A: Let’s see…Deep4Life, obviously – it’s what Chris Gray did that inspired me to start my own label. My man Estimulo with Mixomat Recordings is holding it down big time. I wouldn’t be where I am right now without Jus-Ed and Underground Quality. I like what Patrice Scott and Keith Worthy are doing with their labels. Gotta give a shout out to Aaron-Carl and Wallshaker Music as well – he’s been in the game since 1996 and still manages to stay hungry and open.

Q: You have shown great leadership in focusing on talent that is as you have said “diamonds in the rough.” Why have you gone that route? What is the biggest challenge that has come from that decision and what has been your proudest moment?
A: I went that route because, in my mind, everybody deserves a chance. Obviously there are some limits to that, but my feeling is if you have the potential and – most importantly – you are hungry enough to let someone both teach you and learn from you – then why not? So many labels these days want to be able to cherry-pick tracks off the shelf, that they go for what’s easy rather than taking someone who has a lot of potential and reaping even bigger successes down the line.

The biggest challenge is knowing when it’s appropriate in getting people to understand your vision, particularly when they may not be completely on board with it. For example, they may like something a certain way on their track and I may find that it doesn’t work at all for my ears, and that’s led to a few arguments. Sometimes I let it go, other times I don’t. Like I said before, some of this is about the artist teaching ME, rather than me teaching the artist (and as an artist myself, I know how important that is).

Q: I only recently came to discover Altered Moods even though the label is 5 years old and I don’t know that the label gets much attention for being how good it is. Has focusing on newer artists hindered the label’s growth potential or popularity?
A: I don’t believe so. The thing is, the people out there who have established their careers are only going to be doing it for so long, and then it’s time for the new cats out there to step up and shine. And that’s where I’m at – I want to be able to give these folks a platform to show their stuff. Because when they shine, Altered Moods shines. Of course, I’m more than willing to have big names sign up and do some music, but the younger, newer talent is really where it is at these days, in my opinion.

As to our obscurity, it’s both a blessing and a curse. I’m not really interested in seeing AMR become a front-page label because I think our ethos is the underground and I think we operate best there. I think it keeps us honest. Mainly because I see a lot of other labels go that route, get big and become very bland and complacent in what they do, and complacency is not a state that I ever wish to see this label in. Of course, the curse is, “out of sight, out of mind” – if people don’t know who you are, they are simply not willing to take a chance on you. So the key for the AMR team and me is finding that balance – stay underground, yet be well known enough to have doors open for us (rather than me having to use my boots to kick them down).

Q: What has been the biggest challenge to releasing vinyl in 2009 and why?
A: It’s a combination of things: money – a lot of it is needed to manufacture them, don’t let anyone fool you! – And distribution: A TON of distributors are losing their shirts nowadays, particularly in this economic climate. Unfortunately, your records will sit idle unless you have someone willing to take the risk of sending them out to the stores. The advent of the Internet has not fixed that issue.

Q: As a record buyer one of the most frustrating things for me has been finding records here in the US either at the local store or even in major cities or online. What makes it so hard to find records domestically? Is it purely distribution bias or just lack of demand?
A: I don’t believe it’s a lack of demand – look at various websites like Discogs that have groups devoted to vinyl worship. I’m a member of a vinyl-lovers group on Facebook that is 15,000 strong. Part of it is the distributors – even before the bottom dropped out of the economy, distributors were hardly wont to put your stuff out, unless you were a big name or “vouched for” by a big name. Distributors’ first and foremost goal is to make money. And that’s fine, I think that’s all any of us really want. But that desire to make money makes a lot of folks in the industry unwilling to see the forest for the trees. And unfortunately that’s a big reason why you don’t see a lot of records on the shelves here in the US. The fact that the economy is in the toilet does not help things at all.

Q: Rumor has it that the most recent release, First Scene EP by Mr.
Done! is you. It’s a gorgeous piece of deep house. What took you so long to release something solo?
A: You’ll have to see my publicist about that. I’m kidding. Yes, Mr. Done! is in fact, a pseudonym of mine. It’s just one of the styles of music that I plan to introduce…the Mr. Done! moniker is my throwback nod to early ’90s house.
I’m not sure why it took me so long, really – too much good music by other artists that I wanted the world to hear, perhaps? Maybe a little self-doubt that I could pull it off? Don’t tell my girlfriend that.

Q: The track “Extra” is particularly interesting. Its warm melodic start changes and the tracks intensifies with a drum roll and acid line before re-booting back to its original state. It’s a very clever move that will leave dancers mystified. What was the intention in doing that? Was it a statement for/against any part of dance music history or simply meant to challenge our expectations?
A: You wanna know the real reason? Mainly, just to see if I could do it. I’m always learning, always trying out new things. And in this particular instance I was listening to some folks work on a track, and they were doing something similar (particularly, that acid breakdown) and I thought to myself “I should try that, and see if I can pull it off.” Ergo, “Extra.”

Q: “Diamond” sounds a bit like Larry Heard’s work or maybe something on Guidance during the mid ’90s? How much has his work or earlier house informed what you do or your direction?
A: Larry Heard, beyond Chris Gray, has been my biggest influence in doing this kind of music. The fact that Larry still has it 25 years later (I know you’ve heard his latest release) is even more of an inspiration to me. And the fact that he’s so low-key and so humble are icing on the cake. In my mind he should be one of the biggest divas in the biz because he EARNED it. But the fact that he isn’t is just awe-inspiring.

Q: What other styles of music do you see yourself producing in the future?
A: Right now I am working on an ambient CD similar to the T*raumfrequenz CD that AMR released in 2007. T*raumfrequenz is a beautiful artist, and the only problem with that release was that it was simply too short at 45 minutes. This piece I expect to be at least 120 minutes. I was planning on releasing it last year but it just was not (and still remains) not ready yet. I’m also working with a couple of folks on a techno project, but that is only in the early stages at this point.

Q: What can we expect next from Altered Moods Recordings and Malcolm
Moore in the next year? What is the luv.renaissance release?
A: Right now there are 4 AMR projects nearing completion: A double-vinyl compilation with Mixomat Recordings (that is, if Estimulo doesn’t tell me to F off and release it himself, he’s been waiting on me for 6 months!
LOL), a vinyl release starring Jenifa Mayanja of Bu-Mako, Underground Quality and Clairaudience fame, the luv.renaissance release you mentioned above and my own double-vinyl, “Yours in Deepness.”

About luv.renaissance: This release is gonna be all about love, and the sounds are going to be deep and lush and soft. luv.renaissance is another extension of me, quite different from Mr. Done and me, yet unique in its own right. I really think people who hear it will enjoy it. I’m hoping to have it complete in a few weeks.

Q: You’ll be playing at Made Like A Tree here in Seattle on July 10th.
What can we expect to hear from you?
A: You can expect the raw, emotional, butt-shaking deepness that those who have seen me play have come to know and love.

–

If you’re in the Seattle area on Friday, July 10th, you can hear out Malcolm Moore along with 2DeepSoul (Trackmachine and Serendipity) DJing at Made Like A Tree. See here for more details.

Interview – Samoil from Logos

This past year treated the Logos label very well. What started as an obscure digital imprint based in Macedonia has grown into a very well respected home for inspired electronic artists from all over the world—its owner, Samoil Radinski, included. His own Rainbow EP announced Samoil’s production arrival with a mixture of mercurial techno and textured electro beats. And the Logos Compilation 1 managed to be the most thoroughly satisfying techno comps to be released in years. The label has been garnering play and positive reviews from all types of DJs and with a growing stable of artists and releases, the label looks to broaden its scope with 2 full length artist albums to be released in 2009. Samoil talks about the label’s direction as well as his own productions below.

Q: You started the Logos label in 2007 with the focus firmly on digital-only techno/house releases. Can you tell me a little about how the label came to be? What is the label’s mission?
A: Logos is relatively a new music label dating back to the end of 2007. The idea for the label is from as far back as 2001 while I was a part of the promotional organization Balance. Logos is an underground label whose mission is, above all, discovery and the promotion of new talented musicians in cooperation with already highly promoted and vivid artists. At this point, Logos is a digital label aiming for some of the editions to be presented in vinyl and in some other formats. We are not connected or tied to a certain sound and we do not want to divide the music into types or directions. There is only good and bad music and we are planning to release everything good under our criteria and the concept we are following.

Q: 2008 seemed to be your breakout year for the label and the release schedule hasn’t let up. Do you feel like the label has been successful so far? What would you attribute the growth of the label to?
A: We strive to discover high quality musicians and to release their music and we see our success in this. We received very positive comments from Derrick May, Vince Watson, Santiago Salazar, DJ 3000, Rennie Foster, Erell Ranson, etc. Thanks a lot to Kazumi (at Electronic Directory) for this. Logos Volume 1 compilation was awarded a 10/10 by Laurent Garnier.

Q: What other labels do you look up to and admire?
A: We do have huge respect for labels such as: UR, F Comm., Transmat, Peacefrog, Warp, Soma, Tresor, Planet E, Subject Detroit, Music Man, Rush Hour, R&S, Red Planet, Clone, Ovum, Matrix, Submerge, Metroplex, 430 West, 100% Pure, Delsin, Motech and many others.

Q: What has being located in Macedonia brought to the label and to your personal development as an artist? What has the music scene in Macedonia been like over the years?
A: I live and work here and the label is located in Skopje. The scene was developing progressively. The first steps were in 1994 by opening of the Sputnik club were we really started to professionally deal with DJing. The first real gig happened in 1998 when DJ Dimitri from Amsterdam was a guest. Then Mr. C, Derrick May, Kevin Saunderson, Kenny Larkin, Gene Farris and others. In the meantime many organizations were founded, clubs which started with organizing all types of electronic music events were opened. We have an excellent and very honest audience. 

Q: The overall sound of the label is very respectful of the Detroit style of techno and you even managed to get Niko Marks in for the 3rd release. How did you connect with him?
A: Yes, the Detroit sound—the soul of electronic music—has a great influence over our label. But we also like the Chicago sound. Niko Marks is a great musician and above all a good friend with huge soul.

Q: You also had Abdul Haqq do the cover art for Logos Vol. 1? How did that come about and why was it important to get him to do the artwork? Can you describe the label artwork concept and who does the graphic design? Is label artwork still viable for digital-only formats?
A: We knew about Abdul Haqq from his work – designs made for UR, Red Planet, Juan Atkins, and the documentary movie Universal Techno as well. We were positively surprised to have him create the cover for the first compilation Logos Volume 1, because we deeply respect him. Designs for most of the other releases I am preparing by myself. It is very exciting for me to present the music in a visual way simultaneously.

Q: Outside of Niko Marks there haven’t been too many big names on your roster, but there are several that are quickly becoming rising stars (Itokim, Ryo Shimizu, soon to be Agore) as well as many others that are virtually unknown. How have you gone about finding artists, building up trust with them and aligning for releases?
A: It is a really hard work to promote and to establish a label consisting of new names, but we hope and do believe that quality will appear on the surface. It’s really quite satisfying to discover new talents who will become great musicians like: Agore, Itokim, Ryo, etc.

Q: You recently held a contest for blind submissions to potentially be featured on the label. How did that go and what prompted it? Are you worried about trying to push too many new artists and maintaining the overall quality of the label?
A: Yes, recently we announced a kind of open bidding for Logos Volume 2 compilation. This public announcement is open until the end of April this year and is for all producers and DJ who are creating electronic music. It is our challenge to discover new talents and in parallel to remain on course for releasing high quality music.

Q: Are there any plans to ever release on vinyl? Are you still purchasing vinyl for DJing or personal listening?
A: There are, for sure, plans for vinyl releases but we have to move step by step. I am still buying vinyl. I am also buying digital releases because the technology is moving forward fast and there are a lot of innovative machines.

Q: As far as I can tell your first release was the Rainbow EP on Logos. How long have you been making music and what do you look to for inspiration?
A: Yes, Rainbow is my first release for Logos. I’ve started in 2002 at first I was experimenting with the production inspired by the Detroit sound.

Q: The latest release, the Sources EP, has a broader sound palette and seems to focus less on beat driven techno. “Ex” is more down-tempo oriented featuring saxophone, while “Sonce” doesn’t feature a beat at all but still retains the qualities of melodic techno,. “Izvor 7″ has a very uplifting and almost epic melody build up but doesn’t feel like it was necessarily aimed at the dancefloor. What was the approach to this release? And what does Izvor stand for, why so many variations on the name?
A: The approach towards creating my music is open and relaxed. I just let emotions, inspiration and creative moments, to lead me. “Izvor” means source. There are different “sources” which inspire me.

Q: Last year’s Logos vol. 1 was an extremely solid techno compilation. But this year you’ve turned to a proper album format for Agore’s upcoming Reflection release. There are quite a bit of laid back, jazzy grooves alongside more traditional techno. How do you see this album fitting with the Logos sound?
A: As I already mentioned, quality of the music is above all and Reflection as a first Logos album is meeting this criteria.

Q: What do you have coming up for 2009 for Logos?
A: This year Logos will release two more debut albums with extraordinary music and a few EPs:
- Agore – Reflection ( Album LOGOS015 ) 02 – April
- Motorcity – Infinity ( LOGOS016 ) May
- The Florian Muller Project – Blessing ( Album LOGOS017 ) June

If you’re interested in checking out current Logos tracks or submitting music to be considered for the Logos Compilation 2 you can find out more information at the Logos Myspace page. Keep your eye out for an upcoming mix from Samoil that he has promised Energy Flash as well.

Tony Lionni interview

Tony Lionni seemed to appear out of thin air sometime last year. First there was an auspicious debut on Mule Electronic, then another soon after on Versatile. For me though, it was “The Chase” off the Deep Joy EP on WaveTec: shimmering slabs of synth stretched out over funky titter-tottering bass notes and a stream of digital bird calls. From there on, it was one successful release after another culminating in the year ending release, The Chronicles Noir, on Detroit label, Aesthetic Audio. And don’t forget about the massive techno stormer that was “Shaka” on Len Faki’s Figure imprint. So is Lionni just a johnny-come-lately new on the scene? Hardly. The following interview sheds much light on what brought him to where he is today and what is guiding Lionni to tomorrow.

 

Q: This past year you kept busy with releases coming out steadily on a diverse cross-section of labels. What did it take to get you where you’re at today? And how long you had been working on music before getting your first release out there?
A: Man, whatever your art form you gotta study. I’ve studied black music in all its forms for 30 years and experimenting with electronic instruments for 17 years.

Q: You seem to have a good understanding of what works for the dancefloor but with an ability to go deep as well. Your tracks that touch on characteristics of both techno and house without having to fit neatly into either category. Do you think you’ll continue with the sound you’re getting known for or do you think you’ll be exploring other styles too soon?
A: As an individual person’s character evolves, so does an artist’s work along with it. I always like to keep reinventing myself.

Q: Melody or Rhythm? If you had to pick between these 2 as main components in a track which are you going to go for every time and why?
A: Rhythm, that’s what moves you. Vibrations, rhythmic patterns can express much more for me than rhythm…its something unexplicable…

Q: Your release on Aesthetic Audio got props from Delano Smith recently and you’ve received a lot of positive reviews over the last year, but I also saw an almost negative review recently on your latest Mule release. How do you deal with criticism both good and bad?
A: I know the truth and that’s all that matters. Critics are failed artists.

Q: Which track you’ve released are you most proud of and why?
A: I can’t pick one but could pick two. My remix of “Birds” for Kuniyuki Takahashi who is a big idol of mine and now a very good friend, and possibly my release on Aesthetic Audio, “Free Your Mind” for my own personal reasons.

Q: It seems like you’re always keeping busy with posting new demos and releases on Myspace. Do you find that it’s a good sounding board for new work?
A: Exactly. It’s an experimentation sound board and nothing else. I write music for the necessity of it and the love of it and like to share my music as time is precious.

Q: One of your recent demos is called “Footpatrol” after a past Manchester dance crew. Can you tell me a little bit about them and your involvement with them? How does the sound of the track represent them or is it simply a tribute? Did you do any breakin’ back then? And if so what name did you go by and what was your signature move?
A: Footpatrol were real big stars on the Manchester club scene during the mid to late 80´s. They were a Jazzfusion dance outfit from the Mosside area of Manchester and were the best dressed and best movers. They danced to house music and were (some of the) people first dancing to house music.They would often battle other Jazzdance crews from other parts of the country at The Hacienda nightclub Manchester where the objective was to take control of the dancefloor. Not enough is spoken about them and (they) were a very important part of the club and the manchester scene before all the hype of Scallychester. The track is simply a tribute to them as they were idols of mine and if I entered a club and they where dancing i was happy. I wasn´t a breaker but more of a popper and had many different guises.

Q: So Footpatrol were influential to the scene and I’ve read that they even influenced A Guy Called Gerald to write a track with them. But I can’t locate any videos of them.
A: There aren’t any videos of them but they were similar to IDJ London. And yes, Gerald wrote “Voodoo Ray” for Footpatrol to dance to and that was amazing to see them and other fusion dancers battling to that track.

Q: You probably missed the Hacienda in its heyday, so what experiences musical or otherwise influenced you the most growing up?
A: Wrong. The best days in Manchester’s club history where before the acid house explosion at the Hacienda and in the U.K. I later went on to work for the establishment. I went to the Hacienda when I was 17 in 1988. But there where better more influential predominantly black populated clubs in Manchester Like The Gallery, Legends, 52nd street and many more where all the best dance music came from and was later played by the white DJs at The Hacienda.
Hip hop has been the most influential (on me) musically, as well as the records I used to hear being played at home while mum did the cleaning on a Sunday afternoon and dad played his records which were Soul, Jazzfunk and Disco records like Stevie Wonder, Earth Wind and Fire, James Brown…always the latest disco funk and boogie records…

Q: You’re living in Berlin now. Why did you move? What do you most miss about Manchester, Liverpool or the north of England?
A. I moved to be part of a large community of musicians and to be able to meet up easily with the different people from other parts of the globe when they pass by…I miss the edginess of Manchester and it’s attitude and nothing else.

Q: You recently played live in Barcelona. How did it go and what kind of gear or set up do you take to play live? How many times have you played live?
A: Sala Becool in Barcelona has an excellent booking policy, it’s small and intimate without feeling lost…really enjoyed it and had an appreciative crowd. I use a macbook and a Behringer keyboard. I’ve played twice in the last year once at Club Yellow Japan for Mulemusiq’s 4th anniversary and on the aforementioned occasion.

Q: You were a DJ before you became a producer, and from what I’ve read you played quite a diverse selection of music. Do you still pull from that diversity in either your DJ sets or productions?
A: Now I play one type of set or the other as the term eclectic has become an overused word and genre. Back in the day the Black music clubs played a mixture of all types of music and I wasn’t interested in any other form of music.

Q: What are some of the artists, tunes or labels that you’re really feeling lately?
A: I release a record on a label if I am feeling what their other artists are recording. The artists and labels I am working with are those that I admire and respect for one reason or another…Aesthetic Audio detroit owned by Keith Worthy, Patrice Scott’s Sistrum records, Brendon Moeller (the) A&R man at Wave, Jamie Jimpster at Freerange records and of course everything by Kuniyuki Takahasi for Mule Musiq.

Q: What else are you working on and what can we expect to hear from you over the rest of ‘09?
A: I am working on a remix for Alton Miller who for me is an incredible vocalist and it will be an honour as his new track is real, real dope. I want to record an album also finally this year. I’ve got further releases on the previous mentioned labels without forgetting the guys at Ostgut and my dear dear friend Len Faki-cant wait to release my 2nd EP for his wicked label Len Series.

Q: Lastly, what’s with the name? Is it real or a pisstake?
A: Refuse to answer.

Check out Tony Lionni’s “Footpatrol” demo over on his Myspace page while it lasts.