Larsn • n°0 Apr. 2014
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Larsn • n°0 Apr. 2014
Genres and musical styles like dance, house and techno.
CONTENT Originally appeared in the late of the 1980’s in Detroit and Chicago in the United States.
MMAIRE Tech and House Tech â€˘ Larsn Magazine
CHRISTOPHER RAU 1 08
SMALLVILLE RECORDS christopher rau moomin
GIEGLING RECORDS prince of denmark vril
ABLETON LIVE PUSH ableton corp. live 9 + push tutorial - sampled chords
WORKSHOP RECORDS kassem mosse move d
News Hi, what happen next ?
Ro l a nd’s b ra n d n ew A ira s e rie s With roots in the very origins of electronic music, AIRA is a new series of products designed to meet the evolving needs of today’s electronic musicians. In the studio or on the stage, AIRA brings genre-defining sounds and modern performance features to a new generation. While computers dominate so many music production activities today, artists still seek inspiration through the sonic character and responsive feel of traditional analog hardware. AIRA products emphasize the spontaneous creativity and handson performance inspired by these vintage electronic instruments, while integrating neatly into today’s computer-based on production environments.
Behind the authentic sound and responsive behavior of the AIRA products is the newly developed Analog Circuit Behavior (ACB) technology. ACB faithfully captures the sound and feel of living, breathing instruments, including some of Roland’s most revered classics.
Beyond their impressive sound and modern versatility, AIRA products feature essential elements for active stage performers and avid tweakers. This means solid buildquality, straight-forward operation and striking good looks. AIRA combines the organic sound and behavior of ACB with modern effects like Scatter and thoughtful USB integration with computers and DAWs. Through inspiring, highly playable designs, AIRA products deliver a seamless creative experience that shatters the boundaries between production and performance.
THE GREAT O A very rare German plot in the Parisian landscape.
In the electronic system in which the celestial spheres revolve , the German planet is known for the city of Berlin too present in the unconscious ( and conscious) group (s) of the party regulars . However, a small village tends to expand and win with a powerful army excellently organized . This is Hamburg, top place in which coexists in harmony with a people sharing and mutual aid are the watchwords. In 2005, three friends founded the Hamburg shop Smallville Records. Julius Steinhoff , Stella Plazonia and Peter Kersten (aka Lawrence) see their project quickly become a referent music store for DJs . Steinhoff , Lauwrence and a third disc jockey Dionne then feel the need to expand the store by creating a label in 2006. Trio wanted to build an entity with a deep core linking House to techno came straight Detroit with their own electronic samples . Note also that their Artistic Director is managed by Stefan Marx, a UFO that has imposed a remarkable graphic style in which the black and white often dominant bestial and typographic illustrations. You probably do not know Hendrik Weber but you ‘ve probably danced
s m a l lv i l l e r e c o r d s
on waves of Pantha du Prince, German rising icon of Parisian evenings. This same person could allow Smallville Records besiege Lutèce and plant his flag in the 10th arrondissement St Martha. The second shop label that was
« Stefan Marx, a UFO that managed to impose a remarkable graphic style. »
Smallville Between different frequencies. page 10
at the record store Ground Zero -1 becomes the French headquarters. As in Hamburg , there are discs of vinyl with a selection of quality as well as the jewelry label . Encouraged by its success , he temporarily closed this summer and will reopen on Parisian soil. We will keep you informed of the date
and place of the resurrection of Smallville shop . This year, the label celebrated its fifth candle in the eternal lights Instant Point and the spacey sounds wizards Smallville Records: • Smallpeople (aka Julius Steinhoff & Dionne ) • Stefan Marx aka The Dead Sea • Lawrence • Pantha du Prince • Jacques Bon The house Smallville Records Like in Hamburg, there are vinyls and many records with a selection of quality as well as the label’s jewelry and special pearls.
c h r i s to p h e r r a u & m o o m i n
« The label celebrated its fifth candle in the eternal lights of Point Instant on spacey sounds of these wizards » mesmerized by his mind oldschool without ever falling into the great homage . Smallville does not purport to reinvent the house , at most to infuse new spirit if sexed . It seems like the perfect equation for a disembodied after, for those moments where time seems to freeze permanently to let you do that. Hamburg’s Smallville Records is unquestionably one of the most respected imprints and record stores around the globe when it comes to the deep and quirky house and techno Germany has become so well known for. Julius Steinhoff and Dionne are the brains and ears behind Smallville, and together combine as Smallpeople to produce an eclectic mixture
of Detroit influenced techno and atmospheric house. The group imposed its power in just six short years saw big names participating in the off label. Larsn Magazine is pleased to begin his adventure by presenting each of these teachers who are booming this alliance and proposes events much more qualitative each time. It seems like the perfect equation for a disembodied after, for those moments where time seems to freeze permanently.
Smallville Records: between Hambourg and Paris Of the most important labels in more intimate German labels, via U.S. quality labels.
A short walk from the Boulevard de la Villette, the contrast is striking a quiet street, very atypical gem.
Nestled in the basement of a record store specializing in independent labels.
Any fan of electronic music should make a turn here, whether or not with a deck, mix it or not.
Parisian shop Smallville has found a place to dream: exposed brick, two turntables and vinyls available in profusion.
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Deep house producer Christopher Rau released in 2012 his first fulllength, entitled Asper Clouds. The Hamburg-based artist’s catalog to date is short and sweet, with just a handful of 12-inches on labels like Gedankensport and Giegling. In terms of aesthetic, his sound is heavily steeped in the dreamy microhouse style of Smallville Records, the label arm of a local record shop that’s put out two of Rau’s 12-inches so far, and included him on their full-length compilation « And Suddenly It’s Morning ». According to a press release, Rau’s album was partly inspired by nights at the Hamburg nightclub Ego, which regularly hosts label mainstays. Two of the songs on Asper Clouds feature guest production from Jacques Bon, who also appeared with Rau on the
Rau : « I would like to say that I am deeply influenced by American hip-hop and black music in general. » record Cloverleaf Days. The album will be preceded by an EP called Meadows. Like all of Smallville’s releases so far, both records feature sleeve designs by Hamburg-based artist Stefan Marx. I was born and I grew up in southern Bavaria. So when I started listening to hiphop, I lived in a small town near the Alps. I have no idea how it was in Hamburg at that time. But it was undoubtedly a city with a vibrant hip hop scene and it's probably still the case, I do not really know. The previous album features a track titled «Never work».
How is it that the title you came to mind? - The album at the base, was released on Derive Records, a label that I with two friends.
We borrowed the word ‘drift’ in French Situationists (among other movement that participated in the events of May 68) so «Never work» had emerged as the ideal way to this point. This is one of their slogan and I love this message. This is me. Smallville Records organized an evening in honor of the release of the second album «Two». Label occurs fairly regularly at the Rex Club or the Machine du Moulin Rouge in Paris but also in Europe and other parties here and there in France as Lyon or Bordeaux.
•• cphrri ni scteo pohfe d r ernamua r &k m&o o vr miiln
There will also be the first solo track by Jacques Bon on Smallville, next to the old Smallville honchos Christopher Rau and Moomin. That’s smallville 35. After that comes a long awaited second release on Smallville from Rau called as we know «Two» - very nice stuff... Both LP’s records feature sleeve designs by Hamburg-based artist Stefan Marx.
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c h r i s to p h e r r a u & m o o m i n
He started producing more than ten years ago, that he turned his attention towards house music. hours in front of the radio, armed with nothing but a tape deck - driven by his love for sampling, scratching and self-made mixtapes. Years later and disappointed by the state of German hip-hop, Genz turned to electronic music and began to incorporate his love for sampling into house tracks. After releases on Berlin imprints White and Aim, Genz eventually approached Smallville’s Julius Steinhoff with a
demo tape. The result was his Sweet Sweet EP and his acclaimed debut album The Story About You on the Hamburg-based label in late 2011. When the Berlin label Aim debuted in 2010, they did so by introducing a new artist at the same time. The “Hardmood”/”Joe MacDaddy” release from White stalwart Oskar Offermann and newcomer Moomin turned out to be one of the most vital house releases of 2010, and so set the ball rolling for both the newly minted label and the producer. Though Sebastian Genz had only been making house music for a couple of years. It’s about Moomin’s early influences and his transition from hip-hop to house through the prism of some of his favourite records.
Moomin, real name Sebastian Genz, is a German DJ and producer most commonly associated with Smallville and Aim. Closer looks set to provide another outlet for his signature brand of oven-warm deep house. Berlin-based Sebastian Genz may only be known under his moniker Moomin since 2010, but his musical traces go back to the mid90s. Hailing from Kiel in the very north of Germany, Genz became fascinated with early hip-hop, funk and breaks after spending endless Disappointed by the state of German hip-hop, Genz began to incorporate his love for sampling into house tracks.
Credit photo - © Jacob Fairless Nicholson
Fri, 01.08.14 Maison Blessing, Hamburg XDB (Metrolux Music/ Sistrum Recordings and Blessing (Smallville) Sat, 19.07.14 Maison Blessing, Hamburg Axel Boman (Studio Barnhus) and Blessing (Smallville) Fri, 27.06.14 The Heart Of The French Scene, Paris Jacques (Smallville), Dj Jee, Céline Sat, 10.05.14 Smallville Meets Workshop, Paris Kassem Mosse, Benjamin Brunn, Lowtec, Even Tuell, Jacques on 10 May 2014 Fri, 09.05.14 9 Years of Smallville, Hamburg Genius of Time LIVE (Aniara) Lawrence (Smallville) Smallpeople aka Dionne & Julius Steinhoff Sat, 03.05.14 Smallville x Odd Fantastic, Berlin Keith Worthy (Aesthetic Audio), Phillip Lauer (Running Back, LARJ), Smallpeople (Smallville, Running Back) Fri, 02.05.14 Find Me In The Dark,London Smallville Label (Lawrence, Christopher Rau, Moomin, Smallpeople (Julius Steinhoff & Dionne), Arnaldo, Asquith)
MELANCHOL Rustic stories and other tales from Weimar.
Giegling From Dub roots to Techno page 20
Giegling label is for sure iconoclastic and it’s not complicate to understand why. Far away from the « machine guns » of the trendy music business and their uniform communication techniques, it draws along this interview with Dustin and Konstantin contours of a human and artistic adventure shifted reviving the bohemian tradition, based on musical experiences and around seventies community.
prince of denmark
From a bunch of friends trying to live chugging a common passion entire way and dedicated to critical success and professionalism... The Giegling identity is multiple and experience worth the trip. No frills, no pretending or leitmotiv postures; by the way, Larsn let you discover the authentic Giegling adventure...
Since 2009 Weimar-based label Giegling has constructed a microassembly of orchestral kinetics and thunderhead techno that’s forging new pathways through a forgotten wasteland of minimal decay and lost dub James Manning tracked down label co-founder Konstantin
The Giegling identity is multiple and the experience worth it.
« We really had a reason to create something, because where we are from, there was nothing. » to discuss Giegling’s distinctly rustic charms – we also procured a mix from Konstantin that adds some flavour to what the label are doing. After four years Giegling is now up to its 13th release. Konstantin and production partner Rafael make up Kettenkarussell and their emotionally charged thicket of adventurous minimalism that was the label’s first EP - I Believe You & Me Make Love Forever - set the tone for Giegling. Without the internet, the Giegling label and sound has traversed the world. So how did the Giegling story begin? “In a small town which is far away from the techno scene”.
Far away from trendy musical business machine guns.
Micro-assembly of orchestral kinetics and thunderhead techno.
Giegling Records: back to basics. The Weimar-based label has quietly released inventive house and techno from the likes of Vril, Prince of Denmark, Matthias Reiling and Kettenkarussell since it launched in 2009. Though a small operation, the imprint is well-known for its visual aesthetic, re-appropriating and handstamping old record covers to adorn their releases After four years Giegling is now up to its 13th release.
Konstantin and production partner Rafael make up Kettenkarussell and their emotionally charged thicket of adventurous minimalism.
Only one Traumprinz track has so far been released on the Giegling label with “Shall I Say It Again” on Futur II – a scrambled bustle of electronica-tipped house music. Traumprinz’s material didn’t quite fit in with the Giegling context explains Konstantin at first: “he did an edit of a track by D.A.F called “Traumprinz Close To Heaven edit” – it’s a track we still want to release – but it has very sexual vocals and at that time if we had put it out (on Giegling), it would have been so strange,” Konstantin says. So, the Traumprinz sub label was born. “He has his own dream about American house music, about how things were when he wasn’t around, so I think that’s where he gets his inspiration,” Konstantin adds. Another artist to play the Paris showcase was Vril. Originally a hip hop producer from Hannover, Vril’s introduction to Giegling came from “a trippy night’s recording” in 2003. It reached the hands of Konstantin and resulted in Staub’s debut missive 1-4, an EP of funky, boomed-out dub techno that wasn’t released for another seven
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years. Vril makes up the backbone of Giegling’s Staub label – opening the imprint, providing the middle « It is about infinity and about limits of science and the melancholic aspects of joyfulness...» release, and subsequently closing the series. The hip hop head turned dub techno anchorman’s three EPs centred in and around four other 12”s from Christopher Rau, Prince of Denmark and the mysterious Zum Goldenen Schwarm. Vril’s Staub story is one of bravado and sooty sound design explains Konstantin – but also one of perpetual motion. The stamp on Vril’s 5-7 EP is a blueprint design of a perpetuum mobile will forever power itself because of physics. Musically a perpetuum mobile is pieces of
music characterised by a continuous steady stream of notes, usually at a rapid tempo. There is a upcoming EP from Edward, a melancholic various artist from Vril , Prince Of Denmark and Kettenkarussell and and LP by Dwig called “Forgot The Forget Pink Elephant”.
« But after you hear all of the records it makes sense and you clearly understand. » page 23
The label is no stranger to assembly, building stages and installations at the Fusion and Ø festivals in Germany, as well as others in Amsterdam and at home in Weimar. Earlier this year, Giegling’s intertwining relationship with (de)constructive design and music surfaced in Paris, holding their biggest label showcase since those undocumented Weimar parties. Kettenkarussell, Dj Dustin,
prince of denmark & vril
A post-modern style of architecture influenced by “non-rectilinear” shapes. La Villette Enchanté, a former abattoir located in the 19th arrondissement.
Vril, Prince Of Denmark (aka Traumprinz) and Ateq were all present. No longer in a German dereliction, their stage was the glass-walled La Villette Enchanté.
Credit photo - © Schmott
Sat, 23.08.14 Fuchsbau Festival,Springe (Konstantin) Sat, 19.07.14 Melt, Ferropolis (Vril LIVE, Ateq, Konstantin) Fri, 20.06.14 Gaswerk, Weimar (Vril LIVE, Konstantin) Sat, 14.06.14 NSDM werf, Amsterdam, Netherlands (Konstantin @ depot) Fri, 13.06.14 Kleine Freiheit, Osnabrück (Dwig LIVE) Fri, 13.06.14 Kapitel Bollwerk, Bern, Switzerland (Ateq) Sat, 07.06.14 Trouw, Amsterdam, Netherlands (Vril LIVE) Wed, 28.05.14 Mapping Festival, Geneva, Switzerland (Vril LIVE, Konstantin) Fri, 23.05.14 Tanzhaus West, Frankfurt am Main (Leafar Legov LIVE, Ateq, Konstantin) Fri, 23.05.14 Flimmerkiste, Freiburg (Dwig LIVE) Wed, 21.05.14 Conne Island, Leipzig (Leafar Legov LIVE, Konstantin) Fri, 16.05.14 Pomeranze, Wien, Austria (Ateq) Fri, 16.05.14 Stadtbad Wedding, Berlin (Vril LIVE) Fri, 09.05.14 Club der Visionäre, Berlin (Dustin) Sat, 03.05.14 Louver, Tokyo, Japan (Vril LIVE, Konstantin)
a b l e to n
INTRODUCIN Controlling as an art.
Push Live has never been as instinctive.
a b l e to n
Ableton Push - the instrument for hands-on control of melody and harmony, beats, sounds and song structure in Ableton Live. Waiting to get your hands on Ableton’s innovative hardware controller? So did we. As supply finally catches up with demand, we report the results of our long-term Push test. • 64 velocity and pressure-sensitive multi colored pads to play and sequence beats. • New way to play notes and chords. Play melody and harmony in any key. • Improvise and play with loops. Trigger and re-arrange your ideas at any tempo. • Hands-on control with 11 touchsensitive encoders. • Includes Ableton Live 9 Intro and works with any edition of Ableton Live 9 • Designed by Ableton, engineered by Akai Professional
The most obvious solution is to use a hardware controller to provide easier access to options which may be hidden, complex or otherwise unintuitive in the software itself. The proliferation of hardware controllers is nothing new; from mixer-style control surfaces to pad controllers and knob-laden MIDI keyboards, there are now hundreds of options available. Push addresses the issue head on: designed from the ground up for use with Ableton Live 9, this is bespoke hardware designed specifically for seamless integration with the DAW. Ableton promotes Push as an instrument rather than a controller. It’s easy to see why. There are a lot of options on the market if you’re looking for a controller to use alongside Live, but Push beats them all. It’s significantly more expensive than the likes of the Akai APC40, but it’s so much more than just a simple controller. It’s the best hardware counterpart to Live by quite some distance, and one which is almost guaranteed to change the way you approach making music.
Few of us are really pushing our music software anywhere near the limits of its potential.
The front of the unit is dominated by that giant 8x8 grid of touch-sensitive pads.
a b l e to n
Until now, we had one side dedicated to Ableton Live devices: Akai APC 20 , Akai APC 40 , Novation LaunchPad , but the game features were not highly developed . And on the other hand, instruments such as Maschine , from Native Instruments, including sensitive to velocity and aftertouch, but not provided for interfacing directly with the Ableton The array configuration changes completely and displays an organization rather unusual at first pads, but that will prove extremely convenient to use. Indeed, they are organized by octaves, the root of the scale shown in blue and the other notes in white. software pads. The height for a dedicated sequencer live not having controller, right? This situation may well change with the appearance of Push. Coincidentally, the APC 20 and 40 in Akai provide these missing features on Push. Although it has been designed to be broadly independent , one may wonder if Ableton and Akai did not want to keep their previous products some perks. Management mute and solo is also a more direct hair on previous controllers duo Ableton/ Akai, and some users may prefer faders management via volume
Native Instrument • Maschine Mk2 page 32
Objective is now reached, the ge definitely proved that they cou hardware/software hybrid soluti
Novation • Lauchpad
Akai • MPC Renaissance
knob. Note that Push coexists well with APC 20 and 40 in Live, each of which can even handle a bunch of different clips. Pressing the button «Session» shows two clips present (rhythm and bass). I note in passing that faithfully reproduces rather push pads on its original color clips. Very good point. We’d like to have two successive stages, with the first Especially in live mode step-sequencer allows you to prepare a clip before the start, while another clip is running. This is only achievable with drum racks, but not with other kind of instruments. Too bad we can not choose freely between step-sequencer or instrumental mode, how we want to play our plugs.
erman corporation Ableton have uld be at the level concerning ions...
Akai • APC40 Mk2
Akai • APC40
containing only the battery clip. Simple: Pressing the «duplicate» button copy my current scene on the line below, and holding the button «delete» followed by the designation of low clip in the first scene clears it. You can also delete all of a sudden a whole scene or a track, press «Undo» allowing you to reconsider your decision, and «Shift» + «Undo» to cancel the cancellation... It should be noted that a short press of the duplicates the active scene in its entirety, while a maintained pressure can select the clips individually duplicate key.
Akai • APC20 page 33
t u to r i a l
Tutorial Session • I
Sampled chords. How sampling chords can add timbral complexity, distinctive harmonic character and a healthy pinch of old-school flavour to your tracks.
Sampled chords had become a key component of countless techno and deep house tracks, but the whole idea of sampling a chord then replaying it at different pitches might initially seem a little strange. Why not just play the chord with a real instrument? Wouldn’t that give more flexibility? - To understand why the technique became popular, we have to look back to its roots in the mid 1980s. Rather than one definitive reason why so many producers adopted this technique, there are a handful of overlapping, related causes. Firstly, many early house producers didn’t necessarily have the keyboard skills to play complex chord progressions manually and sequencing technology was in its infancy.
Secondly, in the days when gear was relatively much more expensive than it is now and the days of soft synths and virtually unlimited multi-track recording were a distant dream, loading synth sounds into a sampler freed the synth up to play another part. Thirdly, chords could be sampled from existing tracks (often jazz, funk or soul records), capturing some of the sound of the existing recording. Finally, although it’s a subtly different sound and technique, it’s worth mentioning that a number of affordable 80s synths including the Roland Alpha Juno and Korg
Poly-800 featured ‘chord memory’ functions which allowed chords to be played with a single finger (a technique which became particularly popular in rave and hardcore in the late 80s and early 90s). At the most basic level, sampling a chord from an existing track or from a synth or acoustic instrument can be a great way to play otherwise difficult or unusual progressions. However, as we’ll also see, the technique also introduces a distinctive sound as the chord gets pitched up and down the keyboard.
deliberately sampling the original chord an octave higher than you want to play it back, or using a bitcrushing plugin like D16’s excellent Decimort to add a bit of that vintage sampler feel to the sound. In some ways, using this technique
Finally, let’s consider Theo Parrish’s ‘Ebonics’, one of the ultimate examples of a track which breaks all the theoretical rules and still ends up sounding incredible
The harmonics of the sampled piano keys change as the chord is pitched up and down, resulting in the unusual pitch-shifted timbre. Sampling technology in the 80s meant that this was originally quite a rough effect. If you can get your hands on a 12-bit sampler such as an Akai MPC60 or S900 or an E-mu SP1200, the lo-fi sound will be perfect for this technique. To exaggerate the effect using software, you could also try
can be seen as restrictive. Having only one chord shape available for our progressions creates a potential problem if we want to keep within a scale. However, if we’re prepared to play outside the scale, this technique can create chord progressions and melodies we’d perhaps otherwise overlook. As the sampler pitches the audio further away from its original pitch, the harmonics are shifted accordingly, resulting in a very distinctive sound. While the same chord progressions could be played in or sequenced on the original synth, it’s this harmonic shift that provides chord sampling with its unique feel.
In sampling, circuits « analogue-to-digital » make thousands of measurements of the signal each second. page 35
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m ov e d & k a ss e m m o ss e
Those who have followed German imprint Workshop Records will already be well aware of the label’s strong visual and musical aesthetic. Built around a core of artists – chiefly label bosses Even Tuell and Lowtec alongside Move D and Kassem Mosse among others – the Workshop sound touches on melodic, dusty and raw house and
Workshop Welcome to revolution. page 40
m ov e d & k a ss e m m o ss e
The attention to detail that accompanies every release – it’s little things that stand out, like shrink wrapping, hand stamped vinyl or embossed text. techno. The label was launched in 2006 shortly after Lowtec (aka Jens Kuhn) folded his Out To Lunch imprint. Every release since then has been imbued with the deepest of grooves, from the woozy narcosis of Lowtec’s Workshop 6 to Move D’s disco-sampling jam on Workshop 4 and the epic B-Side of Mosse’s recent Workshop 12 release. A distribution hook-up with Germany’s home of discerning dancefloor music, Hardwax, gave Workshop the platform it deserved, and it has flourished. Given the attention to detail that accompanies every Workshop release – it’s the little things that stand out, like shrink wrapping, hand stamped vinyl and embossed text – it should be of no surprise to learn that one half of the label runs a boutique fashion label, with Even Tuell (real name Paul-David) having launched Airbag Craftworks back in 1995. The Workshop sound touches on melodic, dusty and raw house and techno.
As the record buying experience continues to shift from brick and mortar shops to online retailers, some treasured relationships between store clerks and patrons are becoming a thing of the past. But for many fans of underground dance music, there’s at least one store whose carefully selected offerings comes close to filling the gap: Hard Wax. Berlin’s most venerable record store was founded in 1989 by Mark Ernestus (later of Basic Channel/Rhythm & Sound
from Marcel Dettmann and Achim Brandenburg (Prosumer) to René Pawlowitz (Shed) and Cassy, behind the store’s counter or restocking the shelves. And if you can’t make it to the Kreuzberg area, the Hard Wax web shop is a worthy substitute whose new release list keeps readers ahead of the curve. If that’s not enough, Hard Wax also distributes a handful of essential labels, like Pawlowitz’s W A X / EQ U A L I Z E D/S o l o a ct i o n imprints and the much sought after Workshop records.
It’s a must-visit institution for locals and dance music pilgrims alike, a place where you can find rare cuts, the latest crop of hand stamped white labels and any number of top DJs and producers. fame), and for a few years it was the city’s only dispensary of techno and house vinyl. Its founder’s role in the Basic Channel, Maurizio, and Chain Reaction labels reinforced the shop’s focus on quality and value over gimmicks and ornamentation. Shoppers know not to expect garish sales or hyperbole-filled descriptions — a “TIP!” is the closest most records get to unrestrained praise. It’s a must-visit institution for locals and dance music pilgrims alike, a place where you can find rare cuts, the latest crop of hand stamped white labels, and any number of top DJs and producers,
David Moufang, or Move D as you might know him, is a cult favorite in house music, and it’s not hard to see why. His DJ style is funloving but classy, as perfect for a
Focus on Move D’s perspectives on the balance between commercial success and authenticity. in its relevance and reach. Currently, however, the apropos of his work can be felt more than ever, at a time when the pulse of the rest of the world has re-aligned with his own tempo and ethos. His solo debut album as Move D, Kunststoff, is often given the accolade 17 years later as one of the most timeless techno albums ever. Still, it is perhaps his many collaborative projects - from Deep Space Network in the early
I think house and techno wouldn’t get anywhere if everybody were only listening to house and techno. house party as it is for a festival. His productions, meanwhile, are more subtle and spaced out, earning him respect among synth nerds and techno connoisseurs. And he’s always played very well with others, from his early joint-efforts with the late Pete Namlook to his current work with Juju & Jordash as Magic Mountain High. By now Moufang’s been doing his thing for more than 20 years. During a recent stop-over in Berlin, he shared some of the perspective he picked up along the way and spoke at length about a musical friendship that’s influenced him deeply. David Moufang’s musical career, having begun in the early 1990s, has been long and therefore, quite predictably, cyclical
m ov e d & k a ss e m m o ss e
The joy of live improvisation and the timelessness of music electronic or not. 90s, to Reagenz (first in 1994 and then recently revived) and his Magic Mountain High live project, through which he has expressed his most experimental and adventurous side. Having grown up discovering music via his stepdad’s record collection and grandmothers’
classical training, Moufang’s work is constantly stretching the boundaries between house music, ambient, jazz, and classical whilst still honouring the essential canon of all things techno. After the release of his Secrets of The Beehive album in 2008, Move D’s legendary status (although he wouldn’t like to call it that) within the scene has been rapidly accelerating. I’ve done experimental stuff and I want to do slow stuff again.
Kassem Mosse has always been a bit of an enigma. There are pictures of him around (though not many), and he’s got a strong internet presence, partly due to his “critics’ darling” status. He even has a Facebook page. Yet the mystery of Kassem Mosse endures, largely due to his music. Surely any producer whose tracks seem to be evenly distributed in a tempo range covering about 50 beats per minute is operating on a different tip from most. His sound appears to be wildly diverse « Electronic music is not about the Internet. It’s about going to a party, what you experience, what it makes you feel. »
as well, from slow-mo, bleary-eyed tunes to wiry, jacked-up workouts and back again, often on the same slab of wax. It’s this ingenuity and unflinching output that has earned the man born Gunnar Wendel acolytes from across the dance music spectrum, from UK scenemakers like Instra:mental and Joy Orbison to Omar-S and the Laid crew. But it’s his work for Workshop and Leipzig-based Mikrodisko where Wendel has let his freak flag truly fly, where his sound becomes as swampy and amorphous as it can be. We caught up with Wendel in July after his set at The Bunker to chat about context, his newest projects, and to solve the mystery of the facial-haired stamps.
For the first hook up with Workshop, Kassem knew Lowtec because he had played at one of our parties. He had a partner, Even Tuell, who had another label that was connected to Airbag Craftworks. A friend of Kassem Mosse, Nadine, knew him as well and played him some of my tracks and then he asked me to do a record for them. One of the tracks on the first record was supposed to come out on a compilation, but that never happened and then they started Workshop and he just happened to be there at the right time. That’s how it came together, it was all through knowing people. Kassem didn’t send out demos or stuff like that, it was just connecting with friends. When I go back and look at music I used to like when I was younger, I notice that they all have these elements in them that I still like, or they have particular
m ov e d & k a ss e m m o ss e
« I’m so bored with notion of authenticity and realness in electronic music... »
drum sounds, or synthesizers and stuff. You know, stuff that I didn’t consciously realize at the time because I didn’t know how they were made, but it’s something that you subconsciously soak up in a way, and then… I started to dig deeper into electronic music.
I was more interested in leftfield stuff anyway — anything that had an experimental edge. I connected the dots from that to all the stuff I used to like from before. Somehow it all made sense in the end.
Credit photo - ©Robin Droulez
Sat, 21.06.14 Meandyou. x Odd Fantastic, Berlin (Kassem Mosse LIVE, Miles Whittaker, Svengalisghost LIVE, Srevca, Juniper, Herron) Fri, 13.06.14 Club Europa 518, Munich (Kassem Mosse, Oliver Hafenbauer, Candy Pollard) Thu, 12.06.2014 Hessle Audio, Barcelona (Ben UFO, Pangaea, Pearson Sound, Kassem Mosse LIVE) Sun, 08.06.14 Blank Rotation, Berlin (Move D, Juju & Jordash, Jane Fitz...) Sat, 07.06.14 Move D & Dial Records, London (Move D, Lawrence, Roman Flügel & John Roberts) Sat, 10.05.14 Smallville Meets Workshop, Paris (Kassem Mosse, Benjamin Brunn, Lowtec, Even Tuell, Jacques) Sat, 23.04.14 Polar mit Workshop, Cologne (Kassem Mosse & Kieran) Fri, 11.04.14 Distant Cousins 03, London (MM/KM (Mix Mup & Kassem Mosse) & Even Tuell)
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