Tape Archive have quietly been sharing murky, anonymous techno on YouTube for some time now: abstract oddities like the undefined gone with the noise (part1) and floral party numbers like DJ G.O’s sorrylarry. For their first foray into the physical world of objects, they’ve put together three tracks from F.T.F. — another mysterious techno project, but one we’ll forgive on account of the high quality of the tracks on offer. Three jams, each offering different delights, while operating in roughly the same sphere — atmospheric, emotive, somehow both earthy and ethereal.
“Untitled 01″ is direct and plaintive, with unvarnished percussive lines bolstering its wailing synths and on-beat stabs, minor melodies paving the way for the mood of the release. Energetic yet wistful, with unrelenting pace that leaves room for tears. The slightly slower “Untitled 02″ takes time to grow, sliding percussion slapping back and forth before its central emotive synth melody comes to the fore. This one comes with a video, a study in repetition focusing on a single pedestrian passed by innumerable skaters. There’s something forlorn in it, an interminable mundanity that’s matched by the dour, unchanging chords that hover sadly throughout the track. The longest of the bunch, B-side “Untitled 02″, is dank with longing, a squelching mid-range driving things through while pipes reminiscent of the work of Palms Trax lend bittersweet effervescence. The whole release could come from the hands of that Truancy Volume contributor, but for two things: the release lacks the joyous whoosh of his work, remaining slightly maudlin throughout; it wouldn’t make sense for him to drop an anonymous release at this point in his career. Who knows. It’s a solid record, and the label is taking an interesting approach to modern techno.
F.T.F. – 000666 is out now on Tape Archive
Words by Aidan Hanratty, 28 July 2015. Leave a comment
For those who consider themselves regulars in the electronic music club scene in London or have lived here at any point in the last eight years, there is a remarkably high chance you’ve attended a night put on by, or in someway associated with, Casper Clark. In the last year alone he has managed to sort special eight hour back-to-backs from Morphosis and Ben UFO as well as bringing a host of names such as Laurel Halo, Demdike Stare and Objekt to play at his night BleeD. His incredibly forward-thinking approach to music has led him to curate lineups for festivals such as Field Day, Beacons and Donau and he’s become a go-to DJ for many other likeminded promoters and DJs. Earlier this year he added producer to his list of talents, doubling up BleeD as a label and releasing his debut Charlatan EP under Volte-Face, whilst also doing official remixes for Daniel Avery. Ahead of two big shows at Berghain and Fabric in the next month, we decided to catch up with Volte-Face for a little chat about London life and all things BleeD, as well getting him to mix our 123rd Truancy Volume. Describing the mix as a representation of what he likes to play in the clubs at the minute, the mix glides seamlessly through a barrage of techno tracks from Pysk, Bjarki and Abdulla Rashim to name a very few.
Hey Casper, thanks for taking out the time to do this mix and interview. I want to start with asking about your time in London – I understand you moved here around 2006. The Volte-Face project has only taken form in the last couple of years but for those who may not know your background you’ve been pushing London nightlife forward for a while now. Could you tell us a little about your history here and why you think you’re still grounded here after all this time. “Yeah, I moved to London in 2006 after periods of living in South America and on the continent, although I’m originally from Brighton, which is a great place to live if you perpetually enjoy nu-skool breaks. Pretty much straight off the train, I got a job as a full-time promoter, working on fabric club shows and festivals as well as live gigs in various UK venues. Although Volte-Face represents a renewed focus and my first moves into production, I’ve actually been DJing regularly ever since moving to London and very much consider myself DJ first and producer second. It’s probably not common knowledge that I have been playing at fabric since 2006, used to reside at The T Bar and Paris Social Club, and have played at venues like Trouw, Razzmatazz, Rex, The End, Culture Club, etc. I think my experience is invaluable, having the ability to see the industry from so many angles and cutting my teeth as a warm-up DJ first and foremost.”
BleeD has been one of your main focuses the last four years and it really shows you’ve put the time and effort into the night and label. Can you tell us what motivated you to start the night and any ethos behind the label. “BleeD represented my maturing tastes, and as I’d become a pretty experienced promoter by then (mainly losing other people’s money), it felt like a good time to branch out on my own. It was also an incredibly fertile time for left-leaning music, with the likes of Raime, Demdike Stare, Oneohtrix Point Never and Laurel Halo amongst my earliest guests. I hope the label retains some of the character of the night, although I should stress that it’s not ostensibly an ‘experimental’ label, whatever that means. Every BleeD release will be designed for the dancefloor, although it’s aimed primarily at the most open-minded DJs and dancers. BleeD has always been informed by club music, and taken place at venues like Corsica Studios and XOYO, so the transition shouldn’t be particularly jarring for those that have kept a keen eye on proceedings.” The follow up to BleeD001 is coming up in September right too? “We’ve had a few delays, but BleeD002, by a new artist, Rote, should be out in September. Rote’s a duo that chooses to remain anonymous, although they’re very close to the label. It’s an outlet for them to release pretty much whatever they like, free of any preconceptions, and there is some more material ready to come out in future. The remixes are from two of BleeD’s biggest supporters from day 1, and two of my favourite DJs to boot, Svreca of Semantica fame and DJ Nobu from Tokyo. I’ll be releasing a second Volte-Face EP very soon after, in October, featuring four original tracks and a DJ Spider remix.”
Do you feel like this musical ethos transcends well over to your occasional radio shows on Rinse FM? What’s the idea when it comes to them and the guests you invite. “I think I’ve settled into a groove for the sporadic Rinse shows that I do. It’s a good opportunity to play some music that I love on the more ambient/experimental end of things, as well as taking things clubbier as the show goes on. We’ve had some excellent guests in the past, such as Powell, D’Marc Cantu, Vester Koza and Lee Gamble, often just before they went on to wider recognition. I think it’s fair to say that the most basic motivation for everything I’ve done in music has been to help the artists that I am excited by to reach a wider audience.”
To people wanting to put on nights in London is there anything you recommend possibly more on the business side of things that new people might necessarily skip over due to inexperience. “I’d always advise people to start small, and build organically. Booking a big name from the start certainly won’t guarantee a good turn-out, especially as agents will often attempt to charge inflated fees to promoters they’re unfamiliar with. I’d also advise that the press side of things is absolutely crucial. Don’t run before you can walk! It’s probably also worth dropping any notion that it might make business sense, at least in the short-term. My aim with BleeD was always to try to ensure that I broke even, rather than anticipating any significant financial rewards, and I experienced setbacks perennially.”
I’ve seen you play a wide variety of slots in London be it 5-8am closing slots at Corsica to 10pm warm up ones at Dance Tunnel. Taking this into account and knowing you love a good ambient set do you find you have a favourite time of night to play new music? “No, I don’t! As long as the event is well attended, and fosters the right kind of interaction with the music, I am happy to play a small part of the big picture. I’d like to think I have something to offer, regardless of the context. Having said that, some sets do require a lot more preparation than others! As far as ambient sets go, they’re something that I really relish when the opportunity arises. My first time at Berghain, I was lucky enough to play a 2-hour ambient set, most of which can be heard on my Soundcloud. I would have been happy to play that set to nobody, as it was just so wonderful to hear the music with that much clarity and power.”
You work a lot with Daniel Avery be it remixing and playing each other’s tracks, playing b2b at a lot of shows together and it seems like you’re coming from a similar place sometimes with Erol being a major influence. How did you guys first meet and are we right in thinking he might have been one of the guys who helped push you into that next step of producing. “Dan’s a very close friend, and our paths have crossed ever since we moved to London. We’ve worked together on various projects since the very beginning, but our respective musical tastes have never been as close as they are now. He’s my first port of call for exchanging tracks, or seeking feedback on my productions, and his successful transition into production was definitely an influence on me finally getting off my arse in that regard. It’s true that Erol has been an influence to us both, although it might be hard to detect that from one of my DJ sets or productions these days. Broadly speaking, it’s his ability to take risks and make musical ‘volte-faces’ that have made the most lasting impression on my approach. I like to be immersed in what might be called the techno scene, whilst trying to remain an eternal outsider at the same time.”
What can you tell us about the process of making the Charlatan EP? “It came together fairly quickly, with some essential help from a studio partner. My productions wouldn’t sound as polished if I was working entirely on my own. On that note, my next EP has been mixed down by Jas Shaw, as I felt it would benefit from being run through some wonderful analogue machines, with the additional benefit of a second pair of ears. I’m really happy with the results.
What else can we expect from Volte-Face and possibly BleeD in the next year? “I’m debuting on Semantica, with a track on the next Nonnative compilation. It’s something a little slower, weirder and more conceptual, based on the phenomenon of ASMR (great minds, with regards to Holly Herndon!), and I’m very proud of the results. I have more material ready to come out on future 12″s, and would love to start thinking about a concept for a debut LP. I’m also hoping to work on a second remix, as soon as the right thing comes along. On top of that, I have various collaborations on the go, some of which I would expect to see light of day on BleeD in the new year. I’ve got a lot of good gigs coming up, and hope 2016 will be even more strenuous!
Dale Cornish – Ulex Pattern 1 (Entr’acte)
In Aeternam Vale – Non (Forthcoming Linda)
Abdulla Rashim – Asayita 1 (Abdulla Rashim Records)
JP Enfant – Subliminal Message Of Fear (Les Enfants Terribles Amsterdam)
Future 16 – Filaments pt 4 (Zadig Remix) (Gynoid Audio)
Eric Cloutier – Palimpsest (Forthcoming Wolfskull)
Leiras – Beginning Of Visions (Ownlife)
Eduardo De La Calle – Under Divinity Laws (Fanzine)
UnCUT – Deviant (Fanzine)
G-Man – Cosmic Shores (Exos Remix) (Bang Bang!)
Bjarki – Orange Juice Man трип)
Acronym – Realisation (Northern Electronics)
Sleeparchive – Window 092 (Oscar Mulero Remix) (Warm-Up)
Blind Observatory – And The Flying Saucer (I/Y Remix) (I/Y)
Rote – Rote 2 (Svreca Remix) (Forthcoming BleeD)
Psyk – Aumento (Mote Evolver)
Inigo Kennedy – Requiem (Efdemin ‘Journey To The Stars’ Mix) (Token)
Nima Khak – Nebulosa II (Sand)
Rennie Foster – Monochasm (Xplor Music)
Words by Riccardo Villella, 22 July 2015. Leave a comment
“Real art is judged against an inner standard, not what’s out there.” So said Fred Peterkin, aka Fred P, to Richard Brophy of Juno Plus recently. He was speaking on identity in music, or a certain lack thereof in the promo hamster wheel. Fittingly, his own album as FP-Oner, released on Japanese label Mule Musiq, is impossible to judge based on any contemporary sounds, but must be assessed on its own merits. The term deep house may now be meaningless, much like any other genre name, but this album is full of house that is unmistakeably deep.
Resident Advisor’s Will Lynch described Fred P’s music as “hazy, colorful [sic] and alive with raw emotion”, and that is just as true of his work under this new guise. In the same interview, P told Lynch that his earliest productions, as a teen, involved experimenting with tapes and white noise: “If you listen closely to white noise, there’s things in there… it’s some weird cosmic thing.” That cosmic essence is just as present in 5, an album that is immersive, wholly engaging and that demands your attention. The seeping patterns of its artwork and the grandeur of each track’s title seem to express a great theme, a larger vision, and across 11 lengthy tracks Peterkin manages that in a manner both perambulatory and succinct.
‘In The Mist of Sunrise’ starts the album with plodding, straightforward percussion, rattling shakers and subtle bass, while a simple framework of eye-opening synths dances about as if to express wonder at the titular experience. Equally wondrous piano improv floats through, a sort of prologue to the melody that drifts throughout the album. ‘Manifestations Taking Place’ brings about a dreamlike world, its haunting chords and floating Rhodes work colliding with crash cymbals and gentle nods of bass.
‘The Law of Correspondence’ is a clear standout, its vibrant arpeggios both interstellar and Balearic, fraught with tension resolved only by a superb house section some four minutes in. This back and forth continues across a wondrous 11 minutes without ever feeling forced or stretched. Similarly unresolved are the ‘Cycles of Life’, which seem to roll and shuffle along for eternity. ‘The Realm of Possibility’ seems to be a colossal street party, all dynamic percussion and gated vibes (pun not intended), and ‘Platinum Soul’ goes into an even deeper mode, one almost devoid of melody but full of soft claps, gentle cymbals, and squelching patterns, submerged in liquid metal. It’s a particularly playful point, joyous rather than longing. On a gloriously different tip to what came before, ‘Sleepless In Shibuya’ hints not at any forced exoticism but instead suggests an otherworldly insomnia induced by the welcome terrors of an international DJ schedule. 5 is reportedly the first in a trilogy (with 6 and 7 to come), so perhaps this shift in mood could signal a new direction to come. Whatever may follow, one can bask in this slick gloop for some time to come.
Words by Aidan Hanratty, 21 July 2015. Leave a comment
We are very excited to share with you the latest Truancy Volume, by Hamburg-based DJ Cindy Looper. A resident at the famous and much-beloved Golden Pudel Club, her DJ sets and mixes are evidence of an adventurous and ever-curious selector. Here she weaves together industrial, electro, acid and some – to borrow a phrase, “emotional bangers” into a compelling set brimming with personality. One can easily imagine these sounds reverberating around the magical little wooden building overlooking Hamburg’s docks. As well as kindly providing us with a great mix, Cindy Looper spoke about her background and approach to music and DJing and what she has been up to recently.
What is your background in music and how did you start DJing? How did your residency at Golden Pudel in Hamburg come about? “I got into club culture through my work at different bars and clubs in Hamburg. After joining an artist collective (ill.mu) that also hosts a monthly night at Golden Pudel Club, a colleague asked me to play a few records. I started DJing as DJ Reisebüro a few years ago and after digging through a lot of different styles and decades I built a crate for a more serious approach as Cindy Looper.”
I had the fortune to catch you play an excellent warm-up set last summer there and it managed to be exciting and energetic and yet also subtle an excellent tone-setter for the rest of the night. So, how do you approach your sets? Do you prefer early slots? “There is actually no set time I prefer. But if I play sets in Hamburg or at Pudel I like playing late. So I can play doom metal, kassierer and 80s stuff in the very end. I usually prepare my sets kind of carefully but start out spontaneously depending on my mood and/or the setting.”
You recently played at the Noise Manifesto party in Berlin organised by Paula Temple. How was your experience of the night? And how do you view and relate to the concept of the label/collective? “It was just great to witness all the amazing artists perform and I was very excited about the night. The idea behind Noise Manifesto makes sense to me, considering all the empty space between big names and bad music nowadays. To focus on tracks and combine it with a strong statement feels right to me.”
Finally, what was the idea behind your mix? “I try to create a specific sound for every new mix and set based upon my standards.”
Plant43 – The Coldest Rule
Silent Servant – Speed And Violence
Broken English Club – Divinity
Exaltics – Fallen Planet
Drvg Cvltvre – Labradoodle
Cardopusher – Mouthwash Acid
Silent Servant – Cut Unconcious
El_Txef_A – Neurotransmitters Communication
Luke Vibert – Halloween
Andreas Gehm – Shake Your Acid
Helena Hauff – Accidie
Chicago Shags – Schoolbus
Fah – Dont Wait For The Planets
Words by Eradj Yakubov, 17 July 2015. 1 comment
Once a regular mainstay on Radio Slave and James Master’s Rekids, the last four years have seen Spencer Parker concentrate his productions on his own label Work Them, whilst also releasing a furore of music from artists such as S:VT, Young Male and Dana Ruh. This however changes later on this month with Parker returning to Rekids for a four track EP titled No More Silly Club Songs. As the name suggests the record sees Parker adopting some straight forward dance floor business. Parker himself says “This EP is simply a collection of tracks I made around 18 months ago for my own sets. No concept, no bullshit, just some tracks to WORK the club.” His tour schedule is as busy as ever and you only have to watch a set like his Boilerroom Berlin and listen to this exclusive premiere of No.3 off the EP to understand why. Infectious with a boundless energy that really translates onto the crowd. With this being the first EP of original material on Rekids since 2011’s ‘I Think I Love You’, the release is sure to garner some extensive club usage over the next couple of months.
Release Date: Date: July 20 2015 (Rekids) Preorder from Juno
Words by Riccardo Villella, 10 July 2015. Leave a comment