This fortnight we present another local Melbourne lord that needs to be on your radar: Matt Radovich (but he also tends to like Mike Hunt). An incredibly impressive outline of achievements can be found in the bio of his Soundcloud page where he briefly mentions supporting a vast range of acts from Aphex Twin to Wu Tang Clan as well as being invited by Detroit Techno Militia to play at the Bang Tech 12 Anniversary Party in Detroit.
So instead of writing it all again here, we thought it would be more fitting to include the context with which this mix was made, written by Matt himself.
“Every May, I head to the US, to spend some time with great mates in Detroit, during memorial day weekend. During that long weekend the city holds a 3 day electronic music festival called Movement.
In 2013, I made my first trip over and I have been hooked ever since. This year will be my 5th year heading to Detroit, and since this mix was due around the same time as when I leave for Detroit, it seemed kind of fitting to do a Detroit mix.
This mix was done using most the records I have purchased in Detroit over the last 4 years, plus maybe one or two I have had in my collection for a little while. It covers all kinds of music from Detroit, not just TECHNO. I hope you enjoy it, it’s not the most perfect mix, in terms of it’s production (there are a few mistakes), but I think the music is top notch!
Thanks again for having me do this mix, I had a lot of fun putting it together.“
Hello and welcome to back to Bomphcast, episode 48. Melbourne has sprouted yet another conditioned tributary to the local techno scene. Edward Richards describes his productions which he says “follows a deep and hypnotic archetype, heavily relying on percussive elements and found sound…”. You may have caught one of his set recently as hes supported Takaaki Itoh and Dax J within the past few months. Edward also performs as a live duo under the name SLNTJNGL.
Edward has curated this vinyl only mix, taking selectrions from a well organised collection of records. Big thanks to him for putting this together.
Give greetings to Tred, a Perth dweller who’s done the thing most of us want to do: moved to Berlin to spin and make tracks.
His mix for you is a representation of this recent move as he recorded it in Berlin and used a majority of vinyl bought in the city.
Operations in Australia included the co-managing of Perth based party organizer Polyrhythmic (which still continues in his absence) and a the beginning of an ongoing exploration into ambient mixes, one of which can be heard here.
Despite his move to Berlin, you need not fear, Tred will be coming back to Aus momentarily to play a series of shows all over the country:
•Dance Technique Nov 17th (Melb)
•Charades x Something Else with Eric Cloutier Dec 16th (Syd)
•Polyrhythmic Dec 17th (Perth)
•Subtrakt January 14th (Bris)
Dave Stuart is a humble man who has fallen into a professional DJ and booking agent life through sheer enjoyment of electronic music. This quote from his RA profile is all the info you need for his Bomphcast: “The music I play is the music I love, pure & simple, I play from the heart…I strive to find the most beautiful deep melodic house & techno for my DJ sets, sometimes driving, sometimes deep & dubby”.
As well as being very well known in the Australian scene, Dave has also played the European MOXXOM festival in Dresden and in multiple Berlin haunts such as Tresor, Golden Gate and Chalet.
His booking agent side sees him curating the regular club night Something Else at the Burdekin in Sydney where many prolific DJ’s have made appearances thanks to him.
Prepare for battle. For the 31st podcast, Lyon based vinyl label, webzine, events organizer and techno militia present our ears with a high energy mix recorded at Berlin’s Tresor.
Musically, CLFT Militia they take heavy inspiration from the original sounds of Techno and meld them together with modern musical ideas to create a Techno experience that’s forceful, cutting edge and rave like.
These guys are all about Techno, an observation that’s witnessed through their critical involvement in the greater Techno scene through DJ’ing, producing and supporting cutting edge Techno music all over the world. This mix is of course purely vinyl.
Kris Wadsworth is a name synonymous with original sounding techno, in both meanings of the word. Growing up and absorbing the electronic music culture in Detroit set Kris on a path that would lead him to becoming one of the Techno Titans of our generation, a stature consolidated by his recent signing to Jimmy Edgar’s Ultramajic label.
Kris is strictly a vinyl only DJ because, as he says in his interview with Bomphcast (below), he sees “vinyl as the cornerstone of [techno] music’s identity”. We at Bomphcast couldn’t agree more. Vinyl DJ’s will by default consistently bring a party with deeper dimensions, as the skill involved in mixing records commemorates the DJ’s appreciation for the music and therefore the appreciation of a heaving crowd. His sets are no different.
Read more of the insightful and wide spanning interview below the mix.
I first heard your record Uranus 333b from an Andy Hart podcast for Heist Recordings and it blew me away. Immediately after I had a listen to the other works of URANUS and began to wonder if there was an overarching direction/concept that the tracks were following and are to follow? Is this label a constant stream of consciousness and the tracks resulting from it? Or do you selectively produce and pick tracks to be on this label?
If you look into the astrological meaning of the planet Uranus, you may notice similarities in some of the things I have done with the label. Uranus inflicted a generational influence on human beings here on Earth. While my little label is not remotely as significant, the planet’s influence is without question. URANUS tracks are places I travel inwardly, where I really touch a nerve, which hopefully translates to others through the music outwardly. That is the feeling. It feels right or it does not. Only I know and I cannot describe it.
Also, it is strictly vinyl-only because I am still a vinyl-only DJ. Culturally, as a DJ and producer of electronic music for over 16 years, I see vinyl as the cornerstone of this music’s identity. Without vinyl records, there would be no model for CDJs, there would be no USB technology, and the acronym “DJ,” by definition, would not exist. It is the master medium for this music and always will be.
Aside from URANUS, you have a second record label called BREED. What differentiates the two labels from one another?
I think it’s important to release other people’s music. So after releasing my own music on URANUS without any association with nearly any other label for a period of years, I wanted to perhaps “give back,” and take on the responsibility many others have with my music in the past. URANUS is me. BREED is where I release stuff from people I know and will more than likely release specific things of my own.
Also, I recently signed with one of my oldest friends, Jimmy Edgar, for his label Ultramajic.
Breaking into the double digits of Bomphcast’s hall of techno is the vinyl junkie, Jordan Peters.
Initially Jordan began with DJing, finding an affinity with vinyl, but he now indulges producing as well. This upbringing behind the decks has inset a strong sense of what makes a great track and this influence can be heard in his productions.
As a DJ, he’s supported Marcel Dettmann, Truncate, Jonas Kopp and Ø [Phase] as well as playing at the Subsonic Music Festival. He also hosts parties in Sydney via his event organization called Anomaly Events.
You run a series of parties in Sydney called Anomaly. What’s the concept behind Anomaly and what do you think these parties bring to the table that is unique in Sydney?
Anomaly was started with my mate Gareth Psaltis originally as a space for our friends to play, and evolved into a series of parties touring some of our favourite artists. I guess a unique element of Anomaly could be the sound you can hear at our parties – the main musical style is deep and trippy, where you can get lost in the music on the dancefloor. I’ve definitely found myself completely lost in the music at our parties seeing artists such as Rabih Beaini blending Gregorian chants, middle eastern vibes and pounding techno, or seeing Dino Sabatini transport a whole warehouse to somewhere deep in space with his multi-layered psychedelic techno.
What made you decide it was the right time to start running parties around the city? What have you learnt from putting these parties on?
Our first parties were illegal raves in forests on the Northern Beaches of Sydney, the logistics were crazy and after a big party got shut down early into the night we transitioned into predominantly club gigs in the city. After putting on parties in a number of different venues and spaces, you learn how all of the different elements of a night combine to make the party – location, sound, lights, visuals, artists running order, they’re all important elements to consider in creating the right flow and vibe for a night.
Where do you see Anomaly in a few years time and what have you got planned for the immediate future?
Anomaly will keep touring artists we love and bringing new faces to Australia. We’re working on some parties for the remainder of the year, nothing has been announced yet so keep your ears to the ground (aka www.facebook.com/AnomalyEvents).
What is your take on the techno scene in Sydney and how have the lock out laws affected it? Is there something that gets under your skin about the music scene in the city?
The lock out laws have affected not just techno, but every music scene in Sydney. The positive from this is there are enough passionate promoters / DJs / producers / punters that will continue bringing the music. I think whatever government restrictions are imposed there will always be a way around it to keep the music going; start parties earlier, move outside the lockout zones, find new spaces… We can hope the lockout laws will be abolished, but for now there are still great techno parties week in and out.
Since 1999 Andrew Boie has been spinning vinyls to the thoughtful nods of techno druids. Under their watchful gaze, he begun fueling the ovens with operations like his kansascitytechno.com as well as regular enamel tearing sets on Closer PDX.
We shot him some questions so as to get more of an idea of who he is and his insight is into the techno scene, read on below.
A mention should also be given to the detail in the track list provided. In this age where music sales don’t exist anymore, it’s humbling that credit is provided in such detail.
You’ve been playing techno and house since 1999. What drew you to the electronic sounds and made you want to get started dj’ing?
I caught the so-called ‘electronica’ thing that was going on around then. I was in the military at the time and made some friends who were into watching MTV’s Amp, Astralwerks, drum ‘n bass, Prodigy, Orbital, big beat…I was listening to all kinds of stuff but I remember 2 mix cds really got me: Josh Wink’s “Profound Sounds Vol. 1” and Richie Hawtin’s “Decks, EFX, & 909”. Those pushed me towards techno, it was only a year or so later before I was buying Cari Lekebusch and The Advent records. I was very hard-techno focused for a while but eventually branched out and started getting interested in various house sounds as well.
How is the techno culture the Midwest of the USA now compared to back when you started out in the scene?
When I first started in the late 90s in Kansas City it was crazy. There was a very strong house scene. There was decent warehouse party every weekend, if not two of them, often with multiple rooms. I remember going to shows in Omaha with 5 rooms. Techno was welcome too, this was when most techno DJs were playing super intense drummy records at 135bpm or faster, I miss sets like that sometimes. Around 2002 the RAVE act pretty much shut all that down very quickly. Nowadays in Kansas City the kansascitytechno.com crew and other people have been working hard to bring techno into the bars and clubs but it’s a bit of an uphill battle. Other places in the Midwest I think it varies, I see a lot of cool stuff going on in St. Louis, Iowa City, and Minneapolis. Since about 5 years ago I relocated to the Pacific Northwest, there’s all kinds of parties here especially in Seattle.
Having observed the evolution of techno over the last decade and a half, what are your thoughts on how electronic music has progressed over such a long time? What is important in a good techno beat these days?
This is a tough one to answer! Looking back the late 90’s I think people got a little too much into the fast drumtrax/schranz sound, and the mid-00’s weren’t that great either with the whole Minimal craze.
From a small town named Schwerin in Germany with super tasty breads and beer that puts the rest of the world to shame, comes Stefan Rein. Stefan is a vinyl DJ who at first wasn’t a huge fan of the core burning style of techno he now entertains. It was due to the opening of a techno club named ‘GERBEREI’ that set him on his path, and 21 years later, he’s still doing it and doing it well.
Along the way, Stefan has involved himself in the business side of techno as well. Initially working as the co-operator of the EASYTRAXX-Recordstore as well as the GERBEREI, his catalyst techno club.
In the present day, he performs as a DJ and runs his own record label named ‘PURE TRAXX’, a place where only limited editions and vinyl are available.
So, click through the links and discover the man from Schwerin while you watch your core dismantle and crumble to the ground.