You’re going to hear a lot more about Kwaito in the near future from Noise Floor Crew and other labels such as Warp (who are, as we speak releasing the first maore Kwaito record for the European/American market). I’ll talk more about Kwaito later but here is an example of the exciting new sound (and dance craze!) coming out of Soweto in South Africa. Only now is the whitelabel for DJ Mujava’s first single hitting the streets.
I would like to go on the record as wagering that Kwaito elements are becoming the foundation of a movement on the international scale of dubstep or baile funk. This will not remain local for long. But what do I know?
Here is one of my favorites from Mujava, “Please Mugwanti.”
In the first of another continuing feature, we present Side B: The Mixtape Throwback Volume 1: DJ Hyperactive “T.R.U. 4″. In this series, we will not only post classic mixes galore, but we’ll also include post game analysis from the heroes behind your most beloved (and worn out) cassette tapes. So to kick it off we bring you “T.R.U. 4″ from the acid master DJ Hyperactive. I selected this particular volume because, in addition to being the very definition of the kind of release we would like to feature, this was also probably my first mixtape. The mp3’s of this have been ripped from an unplayed, original “pressing” of the tape. I have scanned in the original art. We were lucky enough to get a few questions about this masterpiece of the Chicago techno style answered by the man himself. Ain’t life grand?
Do the initials T.R.U. mean anything to you?
TechnoRave Underground. Probably the most important aspect or point I was
trying to get across was the last initial. Commercial radio had started to
take over the former mix show formats in Chicago right before 1990 and from
there it really declined and lost it’s edge and roots.
Tell us a little about the T.R.U. Series of cassette tapes:
How many of them were there? I want to say there were 12 original series
volumes, and a 1 of series over time through the mid ’90s.
What years did the series span?
I want to say my mixtapes started in ‘92. At least the mass produced ones.
What was the primary means of distribution? Can you tell us a little bit about the role of mixtapes in your career at that time?
I sold these out of my trunk. Initially it was consignment but as the
demand in general for my stuff and others it became a cash biz. Mixtapes,
unlike the internet, websites, email, etc. we’re many DJ’s, including
myself, sole means of promotion, especially if you weren’t putting out
records. I’d already released tracks on vinyl prior to all the mixtapes
which was a big advantage to me. My mixtapes in the local scene (Chicago)
and Midwest we’re my primary means of marketing. I’d say the mixtapes we’re
more influential to the partygoers (ravers) than vinyl obviously. I still
get emails and messages all the time from people all over the states who
have moved from the Midwest still looking for some of these old mixtapes.
Some even go as far as to say that my mixtape was the first tape they ever
bought.
When we talked before and I mentioned that I was going to scan the artwork from this tape and include it with the audio on the blog you cringed a little. Tell us why?
Although there was a jcard, the design itself wasn’t really award winning.
Especially the earlier volumes like 1-4. But hey, I used what I had
available to me at the time. Joe Durica is the designer who really upgraded
the mixtape artwork from like Vol 5 and forward. I can’t remember who did
the artwork first 4 tapes sadly to say. To sum it up, I really don’t think
the artwork complimented the quality of music on those few initial tapes.
It’s hard to talk about this tape without mentioning the speed of it. It’s easy to forget how fast techno was at the time. Some might argue that you are nudging towards hardcore in this mix. Things have slowed considerably since then. Could you talk a little bit about the sounds on this tape and how you (and the rest of us) have changed since then.
I can’t remember volume 4 but for the record I will say that there was a definite short period there that I was not only playing techno and acid house, but hardcore and acid core stuff too. It was a period where the big room music and raves were exploding and it was a real experimental period for me at that time in the studio and dj’ing. I guess to put it in a nutshell, the shows that we’re being thrown in the beginning were so raw and new to so many, me included, compared to the old school house parties I experienced, that a dj’s ability to differentiate and make an impact in a very competitive scene back then was key. I suppose the type of music being played for me was an attempt to match the intensity and immensity of the types of shows with the size of the spaces and sound systems we were witnessing. Whether it was on tape or spinning live, you either stepped up and delivered or move on!
You seem to be playing with elements of early jungle (or as we used to call it “hardcore break beat”). But that didn’t end up being a direction you would ultimately go. Did you conceptualize that the breakier material your were playing would become the movement it was going to become at the time or think about those records as just another element of techno.
In hindsight at the time I already could tell there was a distinctive sound that was evolving which I want to say was more of a UK thing. Breaks I knew would be a mainstay, but not the rave anthems. I knew it’s days were numbered for tracks like that. It was all a sign of the times then. Whether it was hardcore acid, or UK Hardcore, etc. All in all it’s all somewhat relevant styles and fed off each other to one degree or another
back then.
One of the moments that stands out for me on this tape is the section where, unless I am mistaken, you’ve taken a Public Enemy acapella from the 12 inch release of Rebel Without Applause on Def Jam and mixed it at 45 rather than 33 over a hard techno record which you then scratch. It’s a an incredibly exciting mix and one I subsequently saw many other DJ’s imitate that, with less skill. We’ve talked personally before about bringing elements of hip hop culture into techno. Could you talk a little bit about that. What is your personal history with hip hop and how does it connect with your identity as a techno DJ/producer.
Yeah, it was an acapella I dropped over that techno track. I can’t remember the techno track but yeah that was Flavor Flav from Rebel Without a Pause 12″. Not to overstate it, but my first and true loves as a DJ and a listener is Hip Hop and House. Specifically East Coast Hip Hop and not to discredit the other contributors nationwide but looking at a timeline I’m referring to NY, old school Hip Hop, BBoy jammies from back in the day.
That’s it. So early on my exposure to vinyl were hip hop and house records Chicago stuff). The music I first produced in the studio was Hip Hop with the boys from Gary, In and The Legendary Traxster from the South Side. So production wise and my dj’ing style all stems from a Hip Hop. DMC style
scratchin, beat juggling, etc. Later Chicago House DJ’s integrated some of the scratchin and tricks which is all Hip Hop influenced obviously. I’ve always incorporated certain aspects of my roots as a DJ into every style I’ve ever played. Being I never really stayed with the break beat style of production, although I have produced and released some electro records, the only identifiable aspect you can tie to Hip Hop is my dj’ing style.
Is the Hellraiser II sample from a record or did you insert that yourself?
It was on a record. Surely it’s not anything I was able to conjure up, lol.
Your current endeavor 4 Track is pretty amazing. We’re hearing a lot of praise for your current work. What are your hopes for that label and for yourself.
Well after a long layoff from dj’ing and producing, consistently let’s say, I got tired of hearing the old line “if you would’ve applied yourself…. etc.” so I made a concerted effort to invest my energy and time into music
full time again. Keep in mind though that this only stems from my love for music. Certainly not for my ego.
Mark Williams is a veteran that has paid his dues over more than two decades on the scene as a DJ and producer. Since the 80s, when he started his career at UK hot spots like the Ministry of Sound and Final Frontier, he has been laying the groundwork for his future success. His production work has also gained him acclaim the world over and he has released a staggering catalogue of quality tracks on some of the most respected techno labels in the world including: Tortured, Dark House, Pure Plastic, Phont, Primate, and Carl Cox’s Ultimate Trax imprint, to name a few. In addition to releasing on other labels, Mark also has his own imprints: Artificial Vinyl, Real Sessions, Macumba and Real Vinyl. Mark has also gained worldwide recognition with his skilful and distinctive DJing style.Mixing tribal, tech house and techno on three decks and CDJs, his rocking performances have helped him to develop a strong fan base and facilitated gigs in places like Spain, Turkey, Slovenia, Japan, Brazil, Colombia, Macedonia, and Sweden.
His first major tour was in 1998 when Mark was asked to join Carl Cox on his “World Wide Ultimatum Tour.” In 2000, Mark became a resident at a club night called “Damage” in Dublin and later that year he supported Billy Nasty on his “Torture Chamber World Tour.” 2003 found Mark on his first “Ingoma Tour” with Ben Sims which culminated in a now legendary party at the Loft Club, Barcelona, the weekend of Sonar. In 2004, Mark and Ben set out for another tour to promote Mark’s debut album, “A Point in Time” on Ingoma. 2005 was another banner year, with Mark playing at clubs, parties and festivals around the world including a set for more than 40,000 people at the Monegros Festival in Spain. 2005 also saw Mark bringing his sound to radio. The “Concept Show” (www.conceptshow.com) is a monthly broadcast that Mark co-hosts with Macedonian DJ Goran Kan. Some of the past guests have been Mark Broom, Paul Mac, Ben Sims, Cari Lekebusch, Oscar Mulero and DJ Bone.
From the studio to the DJ booth, Mark Williams is one of the brightest stars in the world of techno and his list of accomplishments is impressive and ever growing. In 2007, Mark has teamed up with Paul Mac to provide a new way of presenting his music using a combination of three turntables, 2 CDJs and a laptop running Ableton. Mark and Paul are intending to fuse their customary sounds to create something new and fresh. The addition of Ableton to the standard setup enables the use of custom edits of classics and to be able to drop all manner of surprises into the mix.
Mark has also found time to create a masterpiece of an album that expresses all the sides of his musicality. His love for tribal, Detroit Techno and House Music shines through in his album “You can’t hide what you truly feel” (out later this year) for the label Subject Detroit.
Paul Mac and Mark Williams have now launched the Sou Tai project which features Paul Mac on Ableton and Mark on 3 turntables and cdj’s. The idea to present a intense mash up of sounds not possible with one person on there own and fire in unexpected classics and oddities on the way.
I love lists and so do you (and every other music snob on the planet). So today I introduce the first of a regular feature of top tens called “High Infidelity (Top Ten Lists for Fickle Music Snobs Like You).” Yes, these lists are arbitrary. Yes they are useless. And yet, they persist. Enjoy.
Superwhite - Ten Number One Songs from 1977 by Extremely White Folks
February 5 “Torn Between Two Lovers” Mary MacGregor
February 26 “New Kid in Town” Eagles
March 19 “Evergreen (Love Theme from A Star Is Born)” Barbra Streisand
March 26 “Rich Girl” Daryl Hall and John Oates
April 30 “Southern Nights” Glen Campbell
July 2 “Gonna Fly Now (Theme From Rocky)” Bill Conti
July 16 “Da Doo Ron Ron” Shaun Cassidy
July 23 “Looks Like We Made It” Barry Manilow
September 17 “I Just Want to Be Your Everything” Andy Gibb
December 17 “You Light Up My Life” Debby Boone
This is the beginning of a little feature I will be regularly offering on the Noise Floor Crew blog, wherein I chronicle and review my purchases of the week, or sometimes more frequently. Yes that’s right folks, you heard it here first: I still buy music.
So, I was reading a review of “Tender Buttons,” an album I already like by Broadcast from the venerable Warp label. No big secret there (however I do strongly recommend “Tender Buttons”). I noticed that the review compared Broadcast to an artist by the name of Margot Guryan. I looked up Margot on a whim and found only one review of her 1968 album, “Take a Picture.” But in that lone missive she was compared to no less than the grand pubah of pop himself, Brian Wilson. YOU HAD ME AT HELLO!
If this is the best pop album that you never heard, you aren’t alone, friend. Apparently, Guryan’s 1968 debut has become the holy grail for the notoriously nutty Japanese pop vinyl collectors. And with a pedigree like that…I’m in…way in. At first play, I immediately saw why and so will you. Margot was a trailblazer for women in popular music, writing and arranging her own perfect sugar sweet indie gems and singing them in a distinct breathy voice over strikingly modern chamber pop arrangements. Yeah, you heard me right: chamber pop. Say somethin’! I dare you! I was spellbound. Guryan even riffs on a variation of Bach’s “Jesu, Joy of Man’s Desiring” in the standout track of the album, “Someone I Know.” The main theme, worked over by the brass section, is a near perfect compliment to Guryan’s icy delivery.
Woodwinds, electric organs of the era…none are omitted. It’s all there, kids. How easy it is to forget how great recording of this period can sound. Records like this explain the existence of someone like DJ Shadow. How can you not fall in love with a lost masterpiece like this once and spend the rest of your life digging basements with mummified bats (which he famously found on one expedition - hence the title of this feature) and toxic dust for another album that will make you feel that way one more time? The lush instrumentation reproduced on glorious saturated tape makes the most advanced studios of our millennium look silly in all their gadgetry. The wispy analog reverb on her vocals alone is enough to break your heart forever.
And so in introducing the first feature in this continuing series on my iTunes purchases, I guess I get to come out of the closet as a pretty serious indie pop fan. Like the Liger, it’s “pretty much my favorite animal.” Don’t let the Noise Floor Crew or Klientele stuff fool you. My heart belongs to Margot Guryan…and Belle and Sebastian and Brian Wilson and all those damned Swedes making such great simple pop music.
There I said it. And without further delay… here is Margot with the delightful, “Someone I Know.” So stop hatin’ and get to appreciatin’.
(One quick afterthought: I checked out Margot’s more recent work, the single for “16 Words.” I’ll save you the time/clicks. Skip that one and buy this and perhaps the rarities collection too. Like Maria Muldaur, that heavenly little voice that wins you over here, departs with age and the result is more Laurie Anderson than Isobele Campbell, if you know what I mean. FORGIVE ME
As Justice tours the universe and Kanye co-ops whatever he can get his hands on, the guitar electro sounds has begun its descent into the mainstream. Soon (if it hasnt already happened), you will see guitar electro acts beyond Justice entering top 40 playlists, on “Wow Thats What I Call Music” compilations and belted out through college bar karaoke sounds systems. It will be used to sell hemorrhoid creams and juice boxes and be heard blaring from high rise condo balconies and minivan windows. Such is the inevitable demise of the successful underground sound. From this inevitability arises a new inevitability; the question, “Whats next?” Major label A&R people, as I write this, are sitting at their desks in their shiny suits beading the blogs, digging through myspace and calling their younger, hipper friends trying to determine what and who will be the new big thing. At the same time, older, established artists are starting fresh with new sounds, new influences and new collaborations in an effort to stay current.
Anyone who has ever watched the birth of a genre before knows that it almost always grows from the youth; the fresh perspective. Well, I’d like to present a candidate for that new sound in the form of new-comer Harvard Bass. Clocking in at a measley 21 years of age, this San Diegoan seems to have stumbled, with his first original track, on a hell of jackin’ banger. If you have been through LA recently, you might recognize him as Sleazy V often seen amongst folk such as Paparazzi, Acid Girls, Johnny Love and so on. It’s interesting to me that someone that has come up in the blog house scene then comes back with straight up jackin’ house. I wonder if its a trend. I wonder if the pattern will persist and other young post bloghouse producers will follow suit. Regardless, this tune kills on the floor and I can’t wait to see what else ol’ Harvard Bass has got up his sleeve.
Harvard Bass - Stitches
“Original Post By (Local Hero @ www.trashmenagerie.com)”
Orlando Impact: At the present time the word Techno and Minimal are really hyped by the UK press. Also the fact that the bpm’s are the same as house gives it more of a chance to be diverse. Where do you see the Techno scene heading in the future?
A.Paul: I think it’s a good time for electronic music, I can see a bigger connection between genres which means between people, I guess. House djs playing techno, techno djs playing also different stuff, breaking some dogmas and preconceptions. I still think there are too many categorized genres, though… way too many. It’s a media thing, that’s how the press works on every field in life, and music wouldn’t be different.
Anyway, I don’t feel disturbed by the minimal scene, since I’ve always liked the sound, just think is over-hyped and it will lead to a premature extinction, as it always happens in these situations. Still love funky techno, hard groovy stuff as well, the style that I’ve been working with more, over the last years.
It’s hard to tell where is heading since this is what techno is all about, innovation, and breaking barriers, with some nostalgia twists every now and then, but always trying to push music into a next level.
Orlando Impact: How did you get into music?
My first contact with music was by the age of 6. In my country most people would listen to commercial pop and rock, but my sister used to listen to a daily radio show where all new emergent dance styles would play for 2 hours everyday. It was a mix between disco, funk, synth-pop.. I got hooked straight away. Then she bought my first twelve inch, Two Tribes by Frankie Goes to Hollywood.. that was my first contact with professional vinyl.
Orlando Impact: When you’re working on music what equipment are you using?
A.Paul: I used to own a few machines, but after a few years of just watching them catching dust, since I was then mostly using just software, I decided to sell most of it. Software always had a strong role on my production. I started using trackers on Commodore Amiga back in the 80’s, then when I moved to PC’s, I used Cakewalk, Cubase, Fruity Loops and also learned how to use Logic on friends studios that had Mac… Currently I use Ableton Live a lot. I had some trouble in the beginning, trying to get good sound out of it, but it was just lack of experience. Now, that I finally managed to get the sound I want, I intend to carry on using it, it just intuitive, easy and fast, makes my life easier. I use also other tools & lots of plugins… Reaktor , V-Station, ReFx Vanguard, Albino etc.. Recently I stared buying some hardware gear again…
Orlando Impact: As owner of the reputable label Naked Lunch; tell us what artists you have slated for releases in the future?
A:Paul: Naked Lunch was originally conceived in 2005, started as a vinyl label, but was one year later that it had the chance to grow, and build up as I intended. I try to keep it a very open minded label, releasing lots of different techno styles on it, and I can say the feedback has been amazing over these last 2 years. Lots of people send me music every week, and I release stuff both from unknown and established artists, but I don’t really plan it in a long term. Possible, nearly confirmed next guests will be Mark Williams, Boriqua Tribez, Andreas Kramer, and also a lot of my stuff as well on Naked Lunch and also on my other labels The Light, Parallel 125, Dirty Ego, LK Music and Triple Recordings.
Orlando Impact: Can you give us a current Top-10 tunes?
A.Paul: Top 10 – May 2008
01. The Advent – Heavy Traffic (Kombination Research)
02. Gabry Fasano – Reactor (Sacrifice)
03. Patrick Skoog – Psyche (Patterns)
04. Michael Wenz – Panik (Naked Lunch)
05. Industrialyzer – Kosmos (Codeworks)
06. A.Paul – Alloy (Ekho Port)
07. A.Paul – Free Form (Impact Mechanics)
08. Green Velvet – Temptation (Relief)
09. Oscar Mulero – 46 (Warm Up)
10. michaelangelo – Transmutate (Labrynth)
Loudon Kleer: Top 10 – May 2008
01. Pan Pot – Crank (Mobilee)
02. Workidz – Washmachine (Toolroom)
03. Gel Abril – Your Face Is A Mess – M. Broom Remix (Be As One)
04. Angel Alanis – Life (Impact Mechanics)
05. Kaiser Souzai – Autocumulus – Piemont Remix (BluFin)
06. Monoroom – Knister Knaster – A.Collins Remix (Gastpiel)
07. Loudon Kleer – A Few Things EP (Parallel 125)
08. Darien J – Dubstar – Perc’s Dub (Cubism)
09. Monoblock – Untone (Cynosure)
10. Alessio Mereu – What U Really Want (Analytic Trail)
Orlando Impact: Can you name a track from your own productions that you like the most whether it being under the alias loudonkleer, as well as a couple of tracks from other artists that you think are well produced right now?
A.Paul: Well, I’ve done so many track in the past 2 years that it’s hard to answer to. There is lot of good music out there, better check the charts above to know what I am into right now.
Orlando Impact: You have been receiving a lot of attention under your alias Loudon Kleer, tell us how you came about that name, and what Name/style of music do you prefer to produce under?
A:Paul: I changed my life philosophy a lot in the last years, and that made me grow a lot both as an artist and a human being. In the past I did music with lots of rules with the perspective of being accepted, to fit a particular market or taste range. That is definitely not the right way to do things, but I learned how to free myself, translate my soul vibes and moods into music, and by doing that, now I do feel free to do whatever I want. Loudon Kleer was born in 2006, my rebel experimental alter ego, with whom I can do from house to techno, ambient, electro, whatever I please. I still love to produce and play pounding techno as A.Paul, but I also love everything else I do. In the last 2 years, I’ve done over 300 tracks… I know they are not all master-pieces, but I still like a lot of what I’ve done in these period, and I know now that now people respect my work for what it is. I spotted the name “Loudon Kleer” in the movie Who’s That Girl with Madonna, and I thought it was a nice funny way of playing with the words. I like to play with words and avoid the obvious.
Orlando Impact: So what kind of music do you like to listen at home?
A.Paul: Mostly electronic stuff, in any genre. I love electronic music. But my favorite listening place is my car. I used to play every Friday and Saturday in my country (Portugal) so I drove millions of miles… I love to drive and listen to music. I’ve always like classical music and some jazz as well.
Orlando Impact: Some of techno artists have started returning to a kind of old school studio set-up like out-board stuff after going through new technology. What is your opinion on Hardware vs Software?
A.Paul: At the end of the day, men need tools. Whatever fits you better, whatever you feel more comfortable with, will lead to better results. Personally I started to buy some hardware again, cause I felt I needed to add an extra human feel to my music, more buttons & stuff to play with, but as I said before, I’ve been mostly using software and you can do great music just with software. Just as long as you find your true artist soul you can make good music with any tool. Get a decent computer with a good sound card, a midi controller, or just gear with external sequencer, like in the old days. Possibilities are infinite, just as long you believe in yourself and you practice a lot.
Orlando Impact: Do you have any next break artists, Labels or DJs in your mind?
A.Paul: There are loads of amazing artists around. So many people touched me over the years, and some of them still do. Also lots of new artists experimenting and doing great stuff. On the minimal side, in the 90’s I first had contact with Robert Hood and Mills sound, and later with Richie Hawtin as well, I think the Concept Series are still amazing. Today names like Pan-Pot, Pig & Dan, 3 Channels, Akufen, 2 Dollar Egg, Sleeparchive, Stewart Walker, Boris Brejcha, Damon Wild, Mike Parker are the ones that please me the most, I think. On the other department, Cisco Ferreira has always been my mentor, still love most of the things he does, there is also a Portuguese producer called Industrialyzer that is already rockin big time as well, been playing his stuff a lot. Other names that rock my sets are Oscar Mulero, Mark Broom, Surgeon, James Ruskin, Joey Beltram, Mark Williams, Ben Long, Chris McCormack, Gary Martin, Eric Sneo, Mike Humphries, Chris Liebing, Adam Beyer, Speedy J, Ben Long, Cari Lekebusch, michaelangelo ,Elektrabel, Takaaki Itoh and the list goes on…
Orlando Impact: What’s coming up next for you?
A.Paul: Music, music, music… I’ve been working with computers since I was a kid, and in so many fields, I’ve done graphic and web design, I’ve wrote for magazines, designed merchandising, and I end up realizing that I was not focusing properly on what is my true “me”. I love to produce music, dj, run my labels, and I do feel privileged to be able to do that. We live in such strange times, such much shit going on in the planet; I think we do a great job by loving and spreading such an amazing thing.
Many people have been endlessly asking me, “What about the Portishead remix album? What about the Portishead remix album? When is it going to be done?” Well it is finally done and ready for consumption. For those who dont know, The Noise/Floor Crew, started by Lady Foursquare, Angel Alanis (my partner in War Games) and myself, has been in the process of remixing the entirety of Portishead’s “Third” since about a month before it came out.
It began as one critically acclaimed remix of “Machine Gun” that was begging for more drums and snowballed into an all out reinterpretation of Portishead’s minimal masterpiece. Most are by NFC but we enlisted a couple of other producers, namely Flufftronix, 12th Planet, ASiH and A. Black, to round out the album. A few tracks were left in a somewhat recognizable state but most were torn to shreds and reassembled into an almost unrecognizable form. The individual tracks cover a broad range of styles from house to electro to minimal to maximal that all came together to make one hell of an album.
Is it better than the original? Am I allowed to ask that given my involvement? I guess it depends what you’re into, but our take certainly brings it out of the lofty art-rock realm and without dumbing it down. Anyways, I’ll quit talking it up and let you be the judge. As this is not a sanctioned remix album, I’m curious to see what Portishead will say about this since, in the past, they’ve been so staunchly against remixes of their own music. Below is a link to the entire album in a tidy .zip along with a lengthy (tl;dr) description of who Noise/Floor Crew really is. I thought I’d also give it to you track by track as well but I’d recommend listening to it as a whole album. And be sure to go to somewhere besides itunes (damn the man) and buy Portishead’s album as well.
Virgil Enzinger a Salzburg based Austrian producer, was able to convince from the very beginning of his career. His performance at Cosmium Radio (Stuttgart) was the first step to reach a larger audience, followed by further acts at various clubs inStuttgart, for example the “6 Years Anniversary” of Partysan BaWü at M1 or on events with known artists like Monika Kruse, Cristian Vogel, Richard Bartz, etc. Focused on the harder sound of techno music, he became part of the “Future Classics Publishing” in Frankfurt, and got the chance to release on Neuton..s in house labels .
Beside his very clear vision and expectation to what he wants to bring out on the creative channel, he is also trying to improve the technical side of his productions from track to track. He was invited to play live at “10 Years of Neuton pt.1” (Mtw /Robert Johnson), where he got in contact with DJ Brixton, who released Virgil..s next EP on his own label Kazumi. At “10 Years of Neuton pt.2” he had unique opportunity to play live at the famous “Tresor Club” in Berlin before it closed. This performance had a very positive impact on his upcoming tracks. Followed by events like this, he got the chance to release the track “Personal Enemy” on Eric Sneo..s label Masters of Disaster, which appeared in charts of various techno artists (Adam Beyer, Eric Sneo, Chris Liebing,…). After this EP, which was also remixed by Alex Bau, Eric Sneo wanted Virgil to release another Ep on his second label “Beatdisaster”, together with Basic Implant. Virgil teamed up with Eric Sneo for producing and releasing together on a next Ep called “Dynamic Flow” on the Belgium label “Patterns”.
Continuing support from Chris Liebing (Charts April, August, September, November & Year Charts 2006) has positively influenced the musical direction in which Virgil is progressing now. His music carries a distinctive mark as he is pursuing a true everyday underground lifestyle. Virgil..s sounds fit in perfectly to the demand for straight but still grooving techno – always trying to create a new level of quality in his further productions. His next Ep has been released on Cl Recordings (Clr15), followed by a live performance at the 7th anniversary of “Es ist Freitagaaabend…” at U60311 together with Chris Liebing and Speedy J.
I stumbled upon the art of Mathieu Missiaen when I was searching for custom shoes on Etsy and I was immediately hooked. His intricate and vibrant designs epitomize urban art, and his unique style POPS off the medium. His brand NDEUR (pronounced “under”) boasts custom creations and drawings on t-shirts, vintage women’s heels and flats, his and her sneakers, walls, and anything canvas. NDEUR has been featured in numerous magazines, such as BUST (Canada), Strut (Canada), Style (Berlin), XLR8R (Los Angeles), TAAM (Israel), and Le Magazine (Russia) and on television at MuchMusic and MTV France.
Mathieu took a few moments out of his busy schedule to answer some of my questions. Check it out below:
I’ve read that classical 17th century paintings are one of your main influences, any artists in particular?
Definitely Caravaggio and Rubens. Girodet and all the great painters who have a passion for light. For contemporary, I would have to say Rustin, Velickovich, Lucian Freud and many, many more…
What do you think of the urban art explosion of the past few years and how has it affected you as an artist?
I think it’s great. There has been a lot of innovation and the artists are definitely creating more and multi-tasking, which is terrific because I love every medium and every surface. I think it’s important for me to always mix a lot of different influences, new and old. For my latest shoes, I created the exterior with really modern shapes and for the inside I used patterns inspired by Antic Rome, Havana tiles, and Japanese styles.
What’s coming up for the NDEUR brand?
New products are coming really soon (socks, belts, etc). Also look out for a collaboration with Reno Helena, who works on amazing scarves. For summertime, I’ve got a new t-shirt series and will also be doing some design for Citizen Records (Teenage Bad Girl, Vitalic, Missil, etc).
Where can people find NDEUR?
Contact us at ndeurpress@gmail.com to locate an NDEUR seller in your country or check us out online at www.ndeurshoes.etsy.com.
