November 4, 2010

It hurts to set you free
But you’ll never follow me
The end of laughter and soft lies
The end of nights we tried to die
This is the end

But don’t worry, every end spawns a new beginning; we’ll still be with you via:

Update your bookmarks & keep in touch!


Guest Interview/OTAM Mix 25: Martin Landsky – ‘Live @ The Velvet’

July 6, 2010

One of the key figures in the main circle of Berlin based producers, Martin Landsky, has an over-abundance of funk and minimal melody coursing through his veins, cross-pollinating an electrifying new sound that could only be described as a deep understanding of House music. From sharp post-electro swagger which takes inspiration from those early days of rave, to combining modern, finely-tuned electronics with raw, dubbed and funked passages of killer proportions.
On the 21st of August 2010 Poker Flat & Redevice combine forces with a highly-addictive menu served up on the only dancefloor in Amsterdam that matters — Studio 80!
Here’s an interview with Martin + a superb live DJ-mix, transporting you to other worlds and back. Enjoy.

13 years in the production game & still going strong. Can you tell us a little bit about artists who have influenced you the most when you grew up?

Oh yeah it´s quite a time, especially considering that I was dj-ing way before I started to produce my own music.
I grew up at a time when electronic music or better to say House music simply didn’t exist.
In the early days I listened to black music, like Funk, Rap, Dub, etc, etc…
Just to name a few: Fatback, Grandmaster Flash, Kleer, Quincy Jones, D-Train, King Tubby, Lee scratch Perry…were some of my biggest influences back in the days.
Later when House music and Techno were invented there was so much stuff that really got me into it, just too many inspirations to name them all. For sure the early Chicago stuff and the first generation of Detroit Techno were important to me, also some of the more stripped down New York stuff.

Being based in Berlin must have spoiled you a bit when it comes to musical input and underground spots to play. Which country & venue outside of Germany has inspired you the most lately, and why?

There are a lot of hot places around the globe, sometimes it´s just one club in a far out village that can surprise.
But the place that inspired me the most in the last years is definitely the States.
There is this kinda ‘new’ fresh scene, which is amazing. It´s all about small clubs and a well educated crowd, people that really do love the music, no bullshit. A good example that explains what I feel there is that the people scream at the right moments of a track, not in the obvious big break downs of a track but in the small intense parts of the music, the moments when a track makes me shiver too. When you play good music there and you are mixing well they follow you all the way, but if you fuck it up they will simply show it by their reactions. I have the feeling it´s less about hype there at the moment but more about the passion for music and clubbing.
Kinda the same feeling like it was ages ago here in Europe…

Can you tell us something about the live recording you provided for us?

Oh, that was a hell of a party. It was in Gran Canaria in May. I played at a daytime event, an outside event which was already crazy…
Then later in the night I played at my favourite club on this island, The Velvet. I was already quite drunk and exhausted after spending all day at the open air party but the crowd in the club was so energizing, it was an awesome party…as they usually are at this venue…

What future plans should we know about?

Some crazy times right now. I just moved with my apartment and my studio, all at once which is really a pain in the a**, but it´s getting there slowly. So I haven´t had a studio for quite some time now which sucks…but I have a new track coming on Part 3 of the ‘Hi Five Mobilee!’ compilation, which will be out in August. A couple of remixes are waiting to be finished, and a couple of new 12 inches would be nice too, i guess….
Hopefully my studio will be set up soon….=)))

No tracklist for this one

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OTAM Mix 25: Martin Landsky – ‘Live @ The Velvet’

OTAM Mix 24: Frodo – ‘Mahogany Cult Vol. 2’

June 2, 2010

This follow-up take on distorted slow-burn disco-funk and boogie electronics as a melange of Detroit tech-house is a cumulation of Rick Wade, Kyle Hall, STL, Rick Wilhite, Anton Zap & Billy Love instrumentals. A true reflection of my personal soulfulness through this musical potion of deeeep songs drenched in obscure house beats. A clear declaration that states: ‘Mahogany Cult is takin’ over’!

No tracklist for this one

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OTAM Mix 24: Frodo – ‘Mahogany Cult Vol. 2’

Guest Interview/OTAM Mix 23: Kassem Mosse – ‘Workshopmix’

May 5, 2010

The Workshop label hardly needs introduction. Ultra-deep releases from Move D, Lowtec, Kassem Mosse & Benjamin Brunn have made the imprint a notable fixture in the techno and house scene. Releasing stomping minimal house tracks reflecting the roots of modern electronics, but also making its very own funky and moody statement.
Time for the Out There A Minute blog to hook you guys up with an exclusive interview/mix by Kassem Mosse, and let you know we’ve invited those obscure Germans over to our regular hot-spot Studio 80 in Amsterdam on the 15th of May – better attend suckas!

The excellent Workshop no.10 just came out last month, and besides the new additions to your roster of artists like Schweiz Rec and Ron Deacon, it’s a continuation of your sound, which seems to be drenched in classic Detroit rooted house music. Could you tell us which artists have influenced you the most through the years?

While Detroit remains an influence, we were and are inspired as well by a range of European producers and labels, such as early Warp, Rephlex, Move D, D-Man, Sähkö, the Vienna scene with labels like Cheap, Craft and Sabotage, to name but a few.

Is the anonymity factor an important part of the concept of your label?

No. Because it is obvious who we and the artists are… The hand-stamp aesthetic goes back to the early days, the white label business, when people were working with very limited budgets.

There seems to be a renewed appreciation of raw, stripped-down deep house music these days. Something you wish to comment on?

We think that this is already becoming less. There is no actual concept behind Workshop and we don’t really see it as a deep house label. We put out music we like, independent of genre. When you look at the catalogue you also find releases that stand out in terms of vibe and style (take Workshop 02, for instance). Some releases are more Techno oriented, quite slow, but still industrial.

Could you tell us something about the mix you hooked us up with?

It’s a rough little mix recorded by KM for a radio show in Hamburg in 2009, showcasing some of his influences across the board. Detroit, Vienna, Hamburg, Schmalkalden, Chicago and Berlin mixed up with a nod to The Hague to round things up.

Any future plans we should now about?

There are new releases by our core artists due out soon on Workshop. Plus we are working on some serious remixes as well…

No tracklist for this one

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OTAM Mix 23: Kassem Mosse – ‘Workshopmix’

OTAM Mix 22: Frodo – ‘Drivethrough’

April 13, 2010

A bottle of Pig’s Nose whiskey within arm’s reach, hard to track down vinyl originating from Detroit and Germany, cumulated into this hour of your life you wont get back. Enjoy, and don’t feel shy to drop a comment on your way out.

01. Second Hand Satellites – ‘Orbit 1.3’
02. Red Rack ‘Em – ‘Picnic [The Revenge RMX]’
03. Syrinx – ‘Time Traveller’
04. Baby Ford – ‘Westway’
05. Optimystic – ‘4 A.M.’
06. Rhythm Plate – ‘Dirty’
07. Trackheadz – ‘Feel [Trackheadz Instrumental]’
08. Mike Grant – ‘My Soul My Spirit [Mr. G’s Freedom Train Mix]’
09. Azuni – ‘Believe’
10. Soulphiction & Move D – ‘The Limelight [Trus’ Me RMX]’
11. Kenny Dixon JR – ‘Yesterdays’
12. Syrinx – ‘Sirius’
13. Mike Edge – ‘Passing Tunnels’
14. No Milk – ‘Nobody Knows It But You’
15. XDB – ‘Espac’

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OTAM Mix 22: Frodo – ‘Drivethrough’

Playgroup Party Mix

March 26, 2010

Probably a bit late to notice this one, but it really blew my mind: it’s a 57:29 minute excursion by Trevor Jackson called ‘Party Mix Vol.1’ in which he takes 200 of his favourite 70’s and 80’s records and mixes them all up – that’s about 17-18 seconds per track. All the great electro/funk/hip-hop/disco/synth-pop/breaks I grew up with are on there, which makes it such a head-nod grin from ear-to-ear experience. Download and check out the insane playlist here.
Also check out this Red Bull Academy interview with Mr. Jackson while your at it, in which so much of what he has to say [especially the reasons for making music] really makes it an interesting affair.

Guest Interview/OTAM Mix 21: Narcotic Syntax – ‘Reuter Soul [edit]’

March 17, 2010

On Saturday the 3rd of April 2010 spring is in the air, as we bring a brand new edition of the massive indoor festival Vrijbuiters go Berlin Underground in Amsterdam. One of our esteemed headlining duos, Narcotic Syntax consisting of Yapacc and James Dean Brown from Berlin, have hooked us up with a 30-minute excerpt of their psychedelic effect-laden live set which will grace the stage during this marathon party lasting till 9 in the morning. Get your ticket, hear the drum-machines get wicked!

It’s been a while since those last releases on Perlon in 2005. Can you tell us what you guys have been up to in the last years?

Actually our latest release was the double 12″EP ‘Provocative Percussion’ on WIR Records from Cologne in October 2006, which we recorded while both of us were still living in Frankfurt. An A&R for Treibstoff and its sister label WIR, I am proud I’ve been actively involved in designing this label’s musical profile. Please check the following page for further information about ‘Provocative Percussion‘.

Still it has been a long time since this release. In the meantime we’ve been moving places, yapacc was involved in a lot of solo work and other collaborations while I was doing jobs as a copywriter and conceptionist. Three years in Cologne exile, I was able to meet yapacc to continue producing only during my regular job visits in Berlin. But now, re-united in Berlin, production processes are running smoothly again. We recorded a remix of ‘Edo Breiss’ by Italoboyz and a contribution to the forthcoming ‘Superlongevity’ issue on Perlon.

Here’s some information about another song we recorded in the meantime, except that there won’t be an album but just a 2track 12″EP [in 2010], preferably not on a club label:

Narcotic syntax has had a renowned and changing pool of band members [Markus Nikolai, Thomas ‘Zip’ Franzmann and Pink Elln]. Will it keep changing, or have you found a steady cast nowadays?

Here’s an excerpt from the Narcoweb that answers this question comprehensively:
Founded in 1996, Narcotic Syntax were re-boosted seven years later: Since April 2003 DJ/producer James Dean Brown and musician/producer yapacc represent the steady, diligent and meticulous production team for the future. During the initial years JDB had teamed up with the Perlon heads to accomplish premium production results: Zip [Dimbiman, Pantytec, Pile, Bigod 20, Second Voice] supplied great inspirational support several times, while Markus Nikolai [Morane, Pile, Bigod 20] kept the studiosphere vibrating once.

Since late in 2003 Narcotic Syntax are propelling the realisation of an exciting, sensuous concept of blending song and club formats in cooperation with Robert Conroy from New York City, known as chanteuse for the trans-Atlantic 21st century sonic glamour duo Misty Roses. His versatile, incredibly clear, yet powerful voice [which oscillates between the timbres of Scott Walker, Gary Numan, David Sylvian and an adolescent David Bowie] brings back the human factor to the mahogany dance floor. Actually Robert has become our third band member; a common album is in the pipeline.

Finally, Berlin-based guitarist Achim Treu has become the fourth official band member in October 2007, moreover known to be in the current line-up of famous German Neo-Dada pioneers Der Plan, in the ex Line-up of Mutter, and also performing with Fluffy Target [w/Richard Cameron] and as Dauerfisch.

Actually Narcotic Syntax can be perceived as a freewheeling ‘band project’: in case there’s a need for incorporating essential skills, sounds or instruments, JDB and Yapacc invite artists of most different musical backgrounds to participate in the recording sessions. Up to now narcollaborations with the following – apart from miscellaneous vocalists – have been concluded successfully:

keyboards: Ash Wednesday [Einstürzende Neubauten, Modern Jazz; Melbourne/AUS], Max Loderbauer [Sun Electric, Chica and the Folder, NSI; Berlin/D], guitars: Alberto Andreoni [Signor Andreoni; Berlin/D], bass guitar: Thomas Barnstedt (Wahoo; Berlin/D), drums: Miguel Toro [Pan, Samim], marimba+vibraphone: Carsten Skov [Señor Coconut, The Herbaliser; Copenhagen/DK], production: Daniel Zelonky [Low Res, Crank, Sun Ra Impossible Space Circus; Milwaukee, WI/USA], Pink Elln [Sieg über die Sonne, NSI; Berlin/D], Tomohisa Kuramitsu [Baiyon; Kyoto/JAP], loops: Ian Andrews [Radioscopia; Sydney/AUS], Tom Ellard [Severed Heads; Darlinghurst/AUS]

And well, initially, the mission started here: http://www.narcoticsyntax.net.

Which artists have in influenced you the most over the years, and are there any recent acts that put a smile on your face?

Yapacc and James Dean Brown enjoyed a perilous musical socialization; influences are as manifold as extraordinary, including:

The autonomic nervous system, A Certain Ratio, Akira Ifukube, Alfred Jarry, André Breton, Armageddon, Ash Ra Tempel, Atom Heart, Battles, Big Band Blues Noir, Bill Lawrence, Blaise Cendrars, Boogaloo, Boris Vian, Brain-to-MIDI Conversion, Bruce Sterling, Casa Profunda, Cathedral, Chile, Chris Carter, Chrome, Claude Debussy, Click ‘n’ Rumble, Defunkt, Descargas, Disco Duro, Disco Psychotic, Dope Exotica, Earth, Electropical Storm, El Lissitzky, Eraserhead, Ernesto Lecuona, Ethio Jazz, Exotica, Fania All Stars, F/i, Fluid Fairyland, Fort Lauderdale, Fortunato Depero, Gentle Giant, Giacinto Scelsi, Godzilla, Gong, Harmonia, Haruki Murakami, Haruomi Hosono, Heavy Listening, Henry Mancini, Hypnobeat, Isidore Ducasse (Comte de Lautréamont), Jacques Rivette, Japan (the country), Jenji Kohan, John Barry, Joss Whedon, Juzo Itami, Kenyon Hopkins, Kryptofunk, Latinotronica, Led Zeppelin, Les Baxter, Lewis Carroll, Liaisons Dangereuses, Low Res, Magnetopop, Mahavishnu Orchestra, Mandingo, Max Ernst, Metal Urbain, Mistaken Alien Interpretations of Earth Music, Monitor, MX-80 Sound, Nils Petter Molvaer, Pilita, Polaroid SX-70, Pre Fix, Psychedelicacies, Raymond Queneau, Rhythm & Noise, Romeo Void, Rudy Rucker, Russ Garcia, Sabu Martínez, Scott Walker, Severed Heads, Shock Headed Peters, Sofia Coppola, Steamhammer, Stefan Hoenerloh, Steve Coleman and Five Elements, Stu Phillips, Super Collider, Tackhead, Tango Recordings, The Brides of Funkenstein, The Happiness Boys, The Mothers of Invention, This Heat, Thomas Pynchon, Tikicore, Tito Puente, Tony Williams, Tuxedomoon, Umberto Boccioni, United Federation of Planets, Victory Over the Sun, Weather Report, William Gibson, Yes, YMO, and the flow of ‘The Party’ by Blake Edwards.

When I am infected by music, it hardly puts a smile on my face but rather tears of joy in my eyes. Highly topical, and independently from any current hype and general enthusiasm, I fell in love with Joanna Newsom when listening to her new triple LP ‘Have One on Me’. Furthermore my discovery of Hieroglyphic Being on Mathematics left me stunned, I didn’t know Jamal Moss before and thought, after listening to his latest release ‘The Mysteries of Life’, this must be some lost electronic archaeology from 1978…

You are performing at the Berlin Underground event on the 3rd of April in Amsterdam. How do you feel about making your Dutch debut?

Yapacc says: I like the Dutch club feeling, actually my live career started 13 years ago in this country – when I was playing my first live act. So I am happy to return every time.

James Dean Brown says: I didn’t DJ in Amsterdam before but enjoyed this town very much years ago when visiting it several times for cultural and shopping reasons. So I am also very happy to return again after years. Neither for me it is a Dutch debut; I’ve been presenting sound installations at media festivals in Arnhem (also playing live there) and Nijmegen in the late 80’s/early 90’s.

What can you tell us about the mix you provided for us?

Yapacc: master gear, James Dean Brown: 808+fx, Achim Treu: guitar+fx.

The mix is an excerpt from a live jam session at yapacc’s studio, rehearsing for a concert that should have taken place the day after at ‘Ritter Butzke’ in Berlin – which had to be cancelled after all because of a DJ’s death who has been a close friend of the booker…

The base of this live track is our remix for ‘Edo Breiss’ by Italoboyz that is planned to be released on Mothership. However in the meantime we think it would be a smarter idea to withdraw the remix because we think it would suit much better a Perlon release – featuring the live jam session edit on the B-side.

Any future plans we should know about?

Certainly. We want to expand our live plans as a trio, together with Achim Treu: private sessions and official live sets, all of which will be recorded. Further there are release plans – since years, currently evolving, or having put on hold:
The Creed of the Eternal Narcoverse, 12″EP, 2010.

A [partly retrospective] album entitled 4000 to the Floor will become due on Perlon.

An album entitled The Emotional Maximum, featuring singer Robert Conroy of Misty Roses, is expected to be released in 2020…

A Remix of the track Bacoa by Les Baxter for Bax Music has been planned [and started] long since, but it seems that the Bax Music rmx project has been put on hold.

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OTAM Mix 21: Narcotic Syntax – ‘Reuter Soul [edit]’