Truancy Volume 126: Jack Murphy

Jack Murphy’s interest and love for music takes on a number of expressions: as a producer under his own name; as a meticulous chronicler of mixes and musical obscurities that has lead many to lovingly refer to him as The Techno Detective; and as a curator in the form of several excellent mixes. At Truants we have known of Jack in many of these capacities for some time and so are very happy to share a wonderful mix full of fascinating tracks, new and old, which he has made for our Truancy Volume series, plus an interview in which he discusses the creative process, his musical direction, and the experience of discovering music.

You have released a number of records by now, often characterised as loopy, immersive techno. Did your experience with writing music start with this same direction or style, and was it inspired by any records or other music experiences? What is your approach to it? “I kind of stumbled into where I’m at today. I definitely didn’t start out making techno, but I’m grateful to have found it through a series of very lucky discoveries. For me, writing always starts with and returns to loops in one way or another.”

From your Twitter and previous mixes, it’s clear that you have a very diverse taste in different musics and a voracious appetite for new and old records. How do you go about finding music, and what is your favourite part of the process? “I find music in the usual places; friends, DJs, and Discogs (certainly a ton from Discogs). There are a lot of really fun aspects to discovering new music depending on how I’ve come across it. If a friend has sent me something really great – and this happens a lot – then it’s nice to share that experience with them. If I find out about something from a DJ, then I’ll always remember when I first heard them play it and where I was. If it is on Discogs or from a record store, then I’m just stoked to buy a new record.”

Was there a particular act that prompted or inspired you to start exploring the more outré artists and genres? “One night in the winter a few years ago I was walking and listened to Graham Lambkin & Jason Lescalleet’s “Photographs”. That was a turning point.”

I think your strong interest in various types of experimental music – drone, ambient, etc – can be found in some of the music that you have released. With that in mind, have you ever made or considered making music strictly in that vein and away from dance-floor oriented tracks? “I certainly have some things lurking around my hard drive; time will tell if anything will ever surface. For now, though, I love trying to make pieces for the dance floor! There are ideas and things that I’ve learned from listening to a lot of other types of music, generally personal lessons rather than anything sonically particular, and that’s kind of been a nice challenge for me. There are people who are doing things sonically in dance music that are very good that you could call experimental, but I’m not interested in trying to make an EAI techno record. I’m trying to always ask myself how I can think about dance music in a way that incorporates the things that I love about a great dance record and some of the personal and private lessons I’ve learned from listening to other types of music. It’s a question I don’t have an answer to, which I think is an exciting prospect.”

I have the impression that in recent times you have shown an increased, or at least more pronounced, passion for mid-2000s minimal techno and house associated with the likes of Villalobos, Rhadoo and the Perlon label. Is this music – at least on a deep, digging level  new for you, or an older interest that has been reignited, and what prompted this? “Kind of an older interest that was reignited recently by a confluence of events and ideas :).”

And finally, about your mix. What was the idea behind it and how did go about making it? “I’d like to thank you for having me :). It’s just me playing some records that I’ve been enjoying recently :). Trying to have a good time. I’d like to give a shout out to all of my friends :).”


1. Duckett – Untitled B3 [UntilMyHeartStops – UMHS08, 2015]
2. 2001
3. 1997
4. 1999
5. 2015
6. Incognito – Everyday (Masters At Work Everydub) [Talkin Loud, 1995]
7. 1999
8. 2013
9. 2015
10. Compass – Gliding [Cabinet, 1995 / Plus 8 Reissue, 2006]
11. 2014
12. 2001
13. 1995
14. The Ferocious Physics Quintet – This Is Not A Seance (Alternate Mix) [Mosaic 1998 / Sushitech Reissue, 2013]
15. 2001
16. 2015
17. 1998

Eradj Yakubov

omnia sunt communia

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