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Having spent the best part of a decade on “directionless fiddling,” Sheffield icon Richard Barratt has a new purpose: bringing “real songs” back into the world of underground house music as Crooked Man. We dispatched our own curmudgeonly South Yorkshireman Matt Anniss to track him down for a chat. Just don’t call it a comeback…
Richard Brophy finds the Sonic Groove boss in a reflective, yet typically bullish mood following the release of a second mix of Traversable Wormhole material.
Oli Warwick speaks to Andrew Morrison, the Irish producer better known as The Cyclist, responsible for one of this year’s most captivating debut albums in Bones In Motion.
Brendan Arnott traverses timezones and continents to speak with Daniel Isling and Samo Forsberg, the Swedish duo better known as Sling and Samo.
Tony Poland speaks to Bake, a rising DJ and one third of the All Caps collective who are making great strides to maintain Glasgow’s rich techno heritage.
The latest edition of our Five Records feature offers some truly illuminating insight into Paul Woolford’s musical tastes. The Leeds native is one of those names in house and techno whose output and achievements since his emergence render the need for a few introductory paragraphs somewhat null and void.
Bristol’s Kahn & Neek have been gaining plaudits over the past year for their contemporary take on instrumental grime and reggae. Oli Warwick caught up with the pair to discuss the roots of their projects, vinyl culture, and swapping steak for dubplates.
Currently overseeing the successful Wild Oats label, forever collaborating, DJing and on the cusp of releasing a long overdue debut album; perhaps it’s time to stop calling Kyle Hall a wonderkid and give him more credit? Brendan Arnott speaks to him ahead of The Boat Party being released.
In the last three years, Cosmin TRG has shaken off his dubstep roots to craft some of the most innovative techno in a scene awash with staid facsimiles. On the eve of his second album release, he talks to Tom Banham about Dadaism, ancient myths and real ale.
It’s been a long time coming, but Function is finally about to release his debut artist album. One of the founding members of Sandwell District, Brooklyn-raised and Berlin-based Dave Sumner has maintained a low-profile since the seminal label/collective closed at the start of 2012. Over the past year, Sandwell’s other key artists Silent Servant and Regis have been busy; the former releasing his debut artist album, the latter curating and starring in a post-punk compilation and expanding the Downwards label into the US.
Bristol based producer Borai takes Oli Warwick through the various record shops, club nights, individuals and institutions from the city that have helped shape his sound.
As well as their highly regarded work as Dadub, Giovanni Conti and Daniele Antezza can be considered Stroboscopic Artefacts’ secret weapon, responsible for mastering each release from the label. James Manning spoke to the duo about the processes behind You Are Eternity, their long awaited debut album.
With his joint role as as chief operator at Future Times, one half of Beautiful Swimmers and sole pilot under the Maxmillion Dunbar banner, Andrew Field-Pickering has been integral in releasing some of our favourite music of the past few years. Matt Anniss caught up with Field Pickering in advance of his second Maxmillion Dunbar album dropping to discuss eclectism, his love of shoegaze and percussion, and much more.
Last year saw Manuel Gonzales grace a succession of our favourite labels with his own distinct take on Detroit sound under the MGUN moniker – we despatched Brendan Arnott to track the producer down in his Detroit hometown.
It’s been a long time since the word rave has held any real relevance. The only ones who can honestly say they are still doing it properly are the Dutch and eastern bloc forest dwellers seen by most on the internet. So is it with a post-ironic grin that rave – minus the glowing and chromatic regalia – finds itself edging its way back on to the dance floor?
I’m sitting in a dark room, bathed in the blue light of my Macbook screen, waiting for Huerco S to come online and talk. At 2:59, I’m one minute early, and in a two second span where I look away from my computer, his screen name suddenly appears, synchronized perfectly with the clock changing to 3. He’s ready.
The Hague can do strange things to a man’s soul. Just ask Danny Wolfers, who comes from the west coast of Holland. For the past 15 years, the Dutch producer has been releasing his individualistic take on electronic dance music, mainly as Legowelt, but also under an almost schizophrenic range of guises like Gladio, Venom 18, Raheem Hershel, Jackmaster Corky and Smackos. Wolfers is among the second wave of artists from Holland’s West Coast/Hague environs. It’s tempting to posit that the grey skyline and relentless churn of the North Sea have had an effect on Wolfers, but it is certainly true that musical developments in Holland’s administrative capital played an even greater role, including the warped interpretation of US dance music articulated by I-F’s Unit Moebius band and Bunker Records. As Wolfers explains: “I came a little bit later than those guys you mention, in the early 90s. I was also listening to the usual stuff from Chicago, Detroit and Aphex Twin and other artists from the UK. I don’t know why other people started to make techno, but I was 14 and I just wanted to make music in a certain way – I started with just an Amiga. At the time most adolescent kids were playing in bands, so what I was doing was considered pretty weird.”
There’s short video clip on YouTube that follows Theo Parrish as he wanders the streets of Detroit in baggy acid wash jeans and Adidas shell toe shoes, armed with a recorder, boom pole, mic and windsock. The revered producer records raw sound – hanging out the window of a speeding car, banging on rusted and paint chipped playgrounds, shuffling around sparring boxers and setting up under a damp archway to collect natural reverb, collecting the natural sounds of his city, part archivist, part musician.
“Today, kids want to be more Kerri Chandler than Kerri Chandler,” says DJ Deep, his words accompanied by a gentle flutter as he leafs through his enormous record collection. A man whose two-decade career has seen him forge a close personal and professional relationship with New Jersey’s house pioneer, he’s in a good place to judge. “Just because something sounds like Kerri Chandler doesn’t mean it’s a good idea to put it out,” he continues, “because Kerri already did it 20 years ago.” His voice lilts gently down the line from his Parisian office. He doesn’t sound upset by the sudden re-emergence of the Chicago and NY house sound he’s been obsessed with since he was 16. Instead, he’s fascinated at its cycle. When it comes to music, Cyril Étienne des Rosaies is always fascinated.
Andy Stott is a free man. With his latest, greatest work, Luxury Problems, now on the shelves, providing the perfect winter soundtrack, the Mancunian producer has given up his day job working for Mercedes to concentrate full-time on music.