The mighty Gen Ludd (Mister Saturday Night/Clan Destine) break the frame with this killer all-vinyl mix recorded exclusively for Rubadub.
Keep yer eyes peeled for Gen Ludd’s forthcoming 12" on Clan Destine Records.
The mighty Gen Ludd (Mister Saturday Night/Clan Destine) break the frame with this killer all-vinyl mix recorded exclusively for Rubadub.
Keep yer eyes peeled for Gen Ludd’s forthcoming 12" on Clan Destine Records.
Power Vacuum founder el hombre Bintus aka Milo Smee (Kruton, Invincible Scum, Binary Chaffinch) brings us a blistering mix of rough acid, severe dancefloor damaging cuts and arcane B-Boy jams straight from the mouth of the demiurge!
Pre-order the forthcoming Power Vacuum 12" featuring Objekt, An-i, Positive Merge and JoeFarr & J. Tijn HERE!
Lindsay Todd is quite the polymath. Well… he maybe wouldn’t describe himself as such, but it sounds interesting and arcane, so it’s staying in. There’s probably too many things that Mr Todd is involved in to give a full and typical interview-intro rundown (including career asides like appearing as a child extra in The Krankies rendition of Starman), so we’ll stick to the relevant bits: Founder of the Firecracker Recordings, Unthank and Schevchenko labels, not to mention being an overall creative powerhouse under the umbrella name of House of Traps, which covers printing, design, art, music production and DJing. We’ve always known that we would one day have a long, hard chat with Lindsay that didn’t solely consist of both of us fretting over the logistics of record manufacturing. Well, here it is. To boot, the man himself has also graced us with a two-hour long mix of wildly varying styles and diggers knowledge, which we strongly recommended you listen to.
Sequencias is the NYC based label set up by JM De Frias in 2011. The label’s oeuvre is far from easy to generalise, ranging from challenging and cerebral electronics to demented jakbeat workouts, but one thing is certain: Only open minds will reap the full benefit from it’s growing discography, and whether you’re hearing Aroy Dee’s blinding remix of Willie Burns’ “Another Place, Another Time” in the club, or The Healing Force Project’s “Hybrid 1” in the headphones, you can guarantee you’ll be treated to an impeccable palette of sounds thanks to the on-point curation of De Frias and the stunning talents of the artists he chooses to grace his label. He also just happens to be a seriously killer DJ with far-ranging tastes, so we thought we’d rope him into doing a mix for us, and thankfully he obliged. With Ame, Michael Boothman and Agitation Free (to name but a few) featuring, where could you possibly go wrong? Not only that, but we had the chance to catch up De Frias for a chat about Sequencias’ modus operandi, some of it’s highlights so far and hot nuggets scheduled for the future… Continue reading
William Burnett has been making records since 2005. Recent converts to his sound will know him best as Willie Burns, with E.Ps on L.I.E.S, Crème Organization, Sequencias and The Trilogy Tapes. Those who caught on earlier will know him for the Disco-tainted weirdness of Grackle, his work with Legowelt as Smackulator and his collaboration with Elliot Lipp, Galaxy Toobin’ Gang, not to mention teaming up with the mighty Professor Genius as PG&S. Recently he has been known under the names Daywalker and Black Deer, the latter producing a blinding E.P cut by Rush Hour that dropped last month. Whichever name Burnett adopts, one thing is certain: the results are always going to inimitable. Aside from being a prolific producer, Burnett is also a curator supreme in his role as head honcho of W.T Records, putting to wax the likes of Alex Israel, Hunee, Sir Stephen, Ex Vivian and Shawn O’Sullivan to name a few. Mark caught up with Will to ask him a few questions about his status, working at the legendary The Thing, running a label, the mighty Woz and some other highly interesting subjects. In addition he gave us a killer mix for ya’ll to tuck into, consisting of burning psych, cosmic house, recondite bleepcore and beyond, into realms that not even the most adjective-happy journalist could describe….. Continue reading
The 500 series format (or lunchbox) has been around for some time (to be precise: 1978 with the launch of Datatronics first 10 slot powered rack) but it’s only relatively recently come to prominence. Maybe it’s because budgets are getting tighter or maybe it’s because studios are getting smaller but the lunchbox seems to be de-rigeur in a lot of setups these days.
It’s probably because the 500 series is a modular format (and anyone who knows us knows we love modular!) meaning it’s affordable, customisable, compact and portable. What you start with is the rack, which is a powered case with audio I/O on the back. These are available in various sizes from various companies ranging from whopping 10 slot, 19" rack-mountable monsters to compact, wee ultra-portable 3 slot boxes. Once you’ve got your desired rack, then you can start having fun buying modules…
It’s good news then that there are tons of manufacturers around making interesting, high quality audio processors for you to slot into your lunchbox. These range from conventional compressors to weird and wonderful sonic manglers like the Moog analogue delay and ladder filter. Check it’s capabilities in this vid!
We’ve also been impressed by the folk at Golden Age Projects. They’re making faithful recreations of some classic bits of analogue hardware in the 500 series format including this rather impressive microphone preamplifier. Kudos to the first person who can name what it’s been modelled on…
The dons at Radial, who have been making high-end problem solvers and other audio accessories since 1991 have also been pretty instrumental in the lunchbox game and they have a collection of compatible equipment including the incredible Komit compressor.
It’s also worth checking out new kid on the block Lindell Audio who are making a stunning range of 500 series modules and racks at seriously competitive prices. Oh, and when we say they are a new kid, that’s not strictly true because the man behind Lindell Audio is one Tobias Lindell, a music producer who has been around the block and knows a thing or too about high quality audio engineering. Watch this space for some arriving at RAD…
Warm Audio are deserving of your attention too. The WA12 microphone preamplifier sounds lush and, as you would expect, errrr, warm so, it’s perfect for adding a full, rich tone to your vocal processing.
And, of course, we couldn’t talk about 500 series without a tip of the hat to the godfathers of the format: API. They were building modular consoles way back in the 1970s and they implemented the VPR alliance, which is our way of saying that these boys know their onions. Anyway, you should all be checking the API gear out. It’s the nuts.
All that and we haven’t even mentioned the plethora of DIY projects and other nerdy stuff out there for the lunchbox….
It’s been that Long I’ve forgot what number I’m at. But in that time I’ve been learning to put pictures up. It’s the full audio visual experience. Well for me anyway. I’ve been inspired to get back into the blogesphere of recent, as I’ve heard about a couple of people that have actually bought records they have read about in this here blog. Mental ! But what’s more mental is that they actually seem to have liked them.
I was going to try and get a wee MBRBE wax in about the hot current dancing anthems that are making me strip down to the under crackers, don the headphones, close my eyes and go Paisley mental, before we hit the wedding season.. of which there are few this year. I’ve got 3 in 8 days. 2 in 1 weekend, and most are requiring some tunes.. so that will be the ploughed musical furrow for a few months. Watch this space. We’ll see if your so keen to buy the tunes then eh. That will be the Back room test ! Quite looking forward to sharing some of the wedding secret weapons actually.. some of my favourite records.
Back to the task in hand. Listening to records. The wife is away on a hen doo for one of the aforementioned weddings. Fiona’s managed to wangle the girls away to Amsterdam. The guys are going to Tom’s in Loch Lomond. Well not actually in Loch Lomond, well maybe a few, but it will just be a musical lockdown. Perfect. Right looking forward to that. 2 days of good records. Apart from mine of course.
So with the wife away, I have been doing all the things I’m not allowed to do. Like working on my scooter in the hall.
She’ll never know. She doesn’t read this blog.
Oh aye records. Well I canny seem to get off the love and wedding vibe, and started to record some tunes to send over to the girls in the Dam. If you’re interested, some of them were, Gallifre and Mondee’s Don’t walk out on Love on Gherkin, Blake Baxter’s Your All I ever Wanted, Karen Young I’m Hot for You, Shalamar Right in the Pocket, a bit of Church action with Moodymann’s Ya Blessin, and Fiona’s fave Oh Romeo These Mammery’s, sorry Memories from Bobby O. I’m Blessin You’s.. except I better hurry up and get it to them. Which probably won’t happen tbh. Another one strictly for my own enjoyment no doubt.
So aye tomorrows music today. New 3 Chairs promo sounding good. Available soon in way too small quantity. New Dixon Ave Basement Jams, Marquis Hawkes. DABJ-1204. That Higher Forces is pretty killer. Been rocking my back room jams (sounds a bit dodgy) for quite a while now. The privilege’s of the white label. Now released..
Another RAD associated label, well not associated really, as it is ours, is a wee series of releases we are pressing, usual white sketch with a stamp, and by hot talent that make good records, and we want to release. How’s that for a concept for a label ! Thinking outside your box. No artwork or names. But you may get a clue in the catalogue numbers. Or just by listening to the music even. RAD-AN1 being the first. Maybe I’ll give you a bit of inside info, to say thanks for reading this far. Without giving too much away.. if you’re in a club and you think you see Justin Timberlake’s wee brother dropping some quality House jams, then it may be this man.
While we are on tip of self promotion.. not really our style, but I’m going to roll with it for now. Like buses. The other night I had a tune in my head, and was doing the preverbal nut in as knew it so well. The more I sang it to myself, the better it was getting. I knew it was a big record for us, that could have been from anytime in the 15 to 2 years. Then I got it. Turns out it was on our own Dalriada label, which is from not a kick in the arse off about 15 years ago. Stands the test of time, at least in my heid, which I suppose was the main pre requisite of the labels concepts.
It’s about time we got a bit more active on that front.
Watch this space as they say..
That’s it for the licking your own arse show for this evening. I better go and get the wife sent over yon recording for the hen party, before they come home, and I’m still standing here listening to music. Hopefully not in my Y fronts, and headphones on. I’m sure there’s an urban myth in there somewhere.
Oh before I go.. and while on a promotion tip, here’s an avenue of PR we were exploring a few years back. Didn’t catch on though.
Respect to that man. I think I took the tattoo’d promotion a bit far, when I got a flyer for a gig at 69 tattoo’d on my chest. Orland Voorn special guest, 19.11.97. Timeless I thought. Until the day after the gig. It wasny that though.. he never turned up !
Might be about time to stop typing shite.
We’ve been fans of Ableton since day one. It’s no exaggeration to say they totally revolutionised the way the people use computers for making music when it was launched back in 1999. It would also be fair to say we’ve been waiting a little while for this latest update and Ableton have got a lot riding on it. Expectation is pretty high and on first tests we’re pleased to report we’re pretty chuffed with it.
The browser is waaaayyy better than it was previously (with extremely slick link through to MAX/MSP), the time stretch/pitch shift is audibly improved, there are more effects and they all sound gallus, the user interface has the same streamlined, slick look we’re used to and, perhaps most importantly, the new audio to MIDI function is absolutely incredible.
Basically, it’s what we’ve come to expect from Ableton: simple, effective and incredibly usable software with absolutely unparalleled workflow. You can order your copy of Live 9 here or order you copy of Live Suite here.
….and we haven’t even mentioned Push yet….
Wireless technology is pretty slick and also pretty useful and Pioneer have been pretty ahead of the curve on this front: what with the release of their XDJ-Aero last year, which was quickly followed up by the announcement of similar wireless technology being used in their Nexus series of CDJs and mixers. It’s a new frontier and we’ll be exploring the territory with them down at our favourite local haunt, Max’s bar on the 13th March. There’s more information here and a direct link to sign up here.
Oh, and did we mention there will be a free pair of Pioneer HDJ-1500 headphones being given away to one lucky entrant?
For the record, it certainly wouldn’t be bombastic to say that Creme Organization is one of the most influential labels of the past 10 years. Coming straight outta The Hague and having strong links with Bunker, It’s formidable early catalogue featured the emerging talents of none other than Legowelt, Orgue Electronique, Rude 66 and Bangkok Impact to name but a few, and in more recent years the label has released cuts from John Heckle, Myrriad, J.T.C, Willie Burns, Traxx, Basic Soul Unit and D’Marc Cantu. Creme also boasts one of the most arresting visual aesthetics around, with a majority of the artwork bearing the stamp of supremely gifted draftsman Mehdi. All this makes for a meaty stew of raw and nourishing realness. Or in some cases, unrealness. Oor Merk caught up with label founder and owner TLR to talk past, present and future shit. Not only are TLR’s curatorial talents evidenced by the strong roster and release schedule of Creme, but he also happens to be a seriousely fine DJ, which many of you will be aware of. Luckily for us, he canned some of that heat. The result is a beast of a mix which can be found below, chock full of exclusives no less!
Mark: So, you’re at work? You share an office with Mr. Tavares of Bunker fame and the stupidly talented Mr. Mehdi, right?
TLR: I have an office with Mehdi.. here’s some corporate info:
Mehdi + Me = IQ82 Media = Godspill Mailorder (with one other guy working for it)
Mehdi = Godspill
Me = Global Darkness = Creme
Bunker is stuck in a basement somewhere
Ah, so Guy is still operating from dank premises somewhere in The Hague. For the young ‘uns out there, tell us what Global Darkness is…
Its the umbrella company for Creme, some internet crap etc. It’s just the thing I chose when regestering at the chamber of commerce. “Are you sure about that name sir”? “Yup.. quite.” Haha.
In terms of web presence, I dare say that Global Darkness was pretty influential though….
Yeah I guess it was. It was one of the first things out there, before discogs, wikipedia etc. that made an attempt to organise info about this thing of ours: artist bios etc. And the forum was a big thing back then. I think the only other thing that was about the same was Electro Empire and Phinnweb. Internet 1.0 was a very different place as you will remember, being over 30.
Yeah, the children don’t know how hardcore and real it all was.
Nope. And I can take you back before the internet even with letters and faxes and shit. That sounds ancient even to me now. I dunno how the hell we managed.
Tell us more ancient one!
No cellphones. Goddam gramps, you tell em. Anyway, back to the now.
Indeed. I’m guessing that beards is a mandatory look over at Creme/Godspill HQ? Like a work uniform. You have to have a shaved head and a face tattoo to work at Rubadub. Are we simply perpetuating a stereotypical view of underground techno/house blokes by looking like baldy, beardy moody cunts?
I think it might be like women in an office who sync their periods… some subconscious thing were you align to a tribe. We’re working on some gang sign too.
And Creme’s been ploughing the field of unrestrained talent for what, ten years now? At what point did you realise that their might be something in this whole releasing records thing?
Yeah, well over 10 years now. I realised there was something in this whole releasing thing straight away. It caught on very quickly for us, and I was sort of riding a high for the first few years. Then minimal came, and the crisis and web 2.0 reshuffled all the cards in the record bizz. We sort of survived that slump and now we seem to be on the right side of hip again, so that’s cool.
In regards to being on the right side of hip, why do you think that is? There’s certainly a bunch of like-minded labels flourishing at the moment too, some who may even have been inspired by Creme…
I dont know exactly, but it seems like the pendulum of taste swings back and forth, even if it’s becoming more and more diffuse these days with so many things existing simultaneously. There is obviously some Zeitgeist involved. But I like to think its also because I have dedicated myself to releasing music I like without being to conscious of what is going on around me, or what is hip or not. Somehow this personal approach is a bit more timeless than a more businesslike one. I notice a lot of people around us are there for years and years, and a lot of the likeminded labels & artists (which I feel close to) have also been around for ages, toiling in obscurity mostly. All of a sudden its cool to be an outsider or something. If they only knew what it’s really like, haha.
Of course. I guess those who are in it for the money are a bit deluded anyway, aren’t they? I mean, you might as well put all that time into studying law. Because Creme has already passed through myriad trends, are you better prepared for when the shit hits the fan?
Well, I think the cowboys days of the music bizz are over, right? The times in the 90’s when you could still shift 20,000 Unit Moebius records (like KK did) and make a quick buck are behind us, so it attracts a different kind of “entrepreneur”. As for me, I have no special preparation. Just a crazy low overhead and no way out, so its either swim or drown like a pwopah shark.
Well, without wanting to sound terribly fucking cliched, there’s more than a bit of punk in that attitude.Your love of Punk and Hardcore is pretty well documented actually. I think that ethos can be seen and heard in Creme, in it’s own special way, would you agree?
Yeah, it all boils down to DIY I guess. In my formative years I have spent way too much time listening to Crass “Big A, Little A” and reading dodgy fanzines and going to low level gigs in squats and stuff. “External control are you gonna let them get you? Do you wanna be a prisoner in the boundaries they set you?” Somehow it all seemed very natural to me, like the only way to approach anything is with a DIY attitude. All the great art is made that way, wether its by choice or out of necessity. Nothing good has ever come from the corporate world. They might incorporate something good, but usually they just end up sucking the life out of it. Which doesnt mean I am “anti system” or anything, but I do think the important stuff should be left to the individual. I will still call the cops if my bike is stolen though.
Ha! Is your dedication to said DIY approach and the running of Creme the reason why there isn’t more records with your name on them? There was Mr. Clavio with Legowelt that we know of, but maybe there’s some gems out there that we didn’t know you were responsible for?
It’s not so much a dedication, more second nature. I really don’t think about how to approach stuff. I wouldn’t know how to do it any other way. I am a dilettante. Music wise I get up to some things, but under the radar for now. I might throw some stuff in DJ sets or whatever, but I have no plans to really release anything at the moment, and I wouldn’t really wanna use Creme as a platform for some shit I made, because it’s just too easy. If I do anything I will give it to other people first to kind of legitimize it to myself, and others whose opinion I value. But as with anything I say, this may swing wildly within the next 24 hours and I might have a release out all of a sudden.
Next up in the Creme release schedule are “Commanchee’s Revenge” and Str8 Jakkin Kru, right? Two completely different, yet amazing records that may or may not come from the past. All rather clandestine. Can you shed shed some light on the origins of these records?
Lets just say “Commanchee’s Revenge” is pretty easy to find out if you know how to use google. Str8 Jakkin Kru I don’t know if we can release with all the samples and stuff, although I would like to. I have to figure out how to do that one because I think its great (and legit for once as well). I mean there’s no smoke screen around it, it’s really was done by a bunch of guys in the early 90’s that had no pull whatsoever, and were just ignored. If only they had known the DIY spirit, then discogs might have another $400 entry. Next up is Orgue Electronique’s remix of Henry Saiz’s “Our Discovery” too. Lovely tune. That and Commanchee are first up.
OK, so Comanchee’s Revenge is Legowelt? Now that I think about it, google wouldn’t even have been necessary. A closer listen might have been adequate!
Yeah, its that dude again.
Last, but most certainly not least, tell us a bit about this blinding mix you’ve graced us with. If there’s anything to tell that is….
There’s a ton of upcoming stuff in it. I get sent a lot of music (most of it garbage), but I am also tapped into some cool channels. I kinda forgot about this one because I end up doing a few a week, just so I have something to listen to in the car, but let me see.. yeah.. this one has some upcoming stuff from Awanto, Yor, Jared Wilson, Myriadd, Bleak and some things I am not sure whether they’re out or not. Also some new stuff I dig: MCDE, Theo Parrish, DJ Muscle from WT and some Neville Watson things. Thats about it I think, all thrown through a variety of appliances to make it pump like a beast in heat, cause I like a thick, crunchy, bass heavy rolling sound in the mix.
Find out more at…