piątek, 26 grudnia 2014

OutSource - atmoteka 2.0 + Interview

:: Interview
atmoteka: Hello, Jeff. It's a great pleasure to have you featured in our atmoteka series! What have you been up to lately in terms of music?

OutSource: Lately I've been working close with DJ Rap & her label Propa Talent.  So far I have 2 solo EPs that came out on Propa Talent this year. Propa Liquid Vol 1 & 3.  I also did some remixes for Rap's classic series EPs Digable Bass & Hardstep.  

atmoteka: Speaking about music, do you actually produce music to make a living, or is music-making your long-time hobby, or a 'side project' as if?

OutSource: I make a living with music but I still work full time outside of music.  Music making started out as a hobby but once I started noticing drum & bass used in films, tv & video games, I decided that's what I wanted to do.  

atmoteka: We know that you've produced some music for MTV, Discovery Channel and Nintendo - among others. Is producing music for such specific purpose more enjoyable than making beats for, say, Offworld?

OutSource: I enjoy both but honestly it's more enjoyable producing for labels such as Offworld & Propa Talent because you have more freedom to produce the style you like.  With writing for TV, the music supervisor usually wants you to produce a certain style they have in mind & a lot of times it has to be a certain time duration.  Writing for TV is very enjoyable also because it forces you to step out of your comfort zone & explore different styles you wouldn't normally do on your own.  Watching a program on TV with your music playing is very rewarding in itself & of course collecting royalties for it later is a plus.
atmoteka: And how did you get involved with Offworld? What's the story behind your engagement in music production in general?
I became a fan of LM1 & Offwolrd from searching for new atmospheric d&b.  From there I kept following & buying all the Offworld releases.  Whatever I'm currently listening to at the moment, style wise, I guess comes out in my production.  I wrote a few songs & I felt they had an Offworld vibe to them so I decided to pitch them to LM1 & he was feeling them.  He offered to sign 2 songs to Offworld for the Transmissions vol. 4 as soon as he heard them.  It was exciting because I was already a fan of the Offworld Transmission series.  

atmoteka: What's the most difficult part of putting a new track together? The composition? The structure? The sound? Or something else?

OutSource: The most challenging part for me when creating a new track is coming up with a bass line & melody that I like.  If a bass line or melody sounds too typical or generic, I have to keep starting from scratch.  Once I create something I like, it's usually easy for me to piece together as complete song.  

atmoteka: You're also known for your DJing skills. Do you find DJing more enjoyable than producing? Since you're into music basically 24/7, does DJing provide a balance for sitting in the studio?

OutSource: I love Djing but I always find creating a track from just an idea more enjoyable.  I still play songs that are over 10 years old that still sound fresh.  I'm fascinated with the thought that I can create something today & somebody might discover it a decade later.  
I think in Drum&Bass, production & djing goes hand in hand.  Djing is the way to perform what you created & support other artist.  DJing is definitely a good balance from the studio because it keeps you current with the other producers & it always inspires me to improve my own productions.  

atmoteka: Why atmospheric d'n'b? What do you find most attractive about it? Have you always been so fond of this type of d'n'b?

OutSource: When I was first getting into Drum&Bass around 98, it was always the tunes that had the atmospheric sound that I liked the most.  I was buying albums from Photek, Goldie, Adam F, & Boymerang & they all had atmospheric songs on their albums.  Once I discovered Good Looking Records I got hooked on atmospheric d&b & it really inspired me to get into production.  
Atmospheric Drum&Bass always seemed very futuristic & sophisticated which attracted me to the style.  It also seems to last longer than other styles in my opinion because it has real musical compositions involved which never gets outdated.  

atmoteka: Again, about DJing. How do you approach playing out? Do you put a tracklist together before you get to play, or do you make your selection spontaneously, based on what you feel at a given moment?

OutSource: I usually create a tracklist beforehand if I'm playing at a club or on the radio.  If I'm mixing at home I might just hit record & start mixing spontaneously.  Mixing spontaneously is always more fun & can sometimes make some of the best mixes. 

atmoteka: And what can you tell us about the mix you've made for atmoteka? What can we expect to hear there?

OutSource: The mix I put together for Atmoteka is a 17 track atmospheric d&b mix.  When I DJ I'm not always trying to play the latest releases like a lot of other DJs do.  I like to mix in a few classics here & there throughout my mixes.  This mix also has a handful of my own recent productions.  

atmoteka: Any d'n'b producers you've been following for a while? Any people you'd advise us to keep our eye on?

OutSource: I got into drum&bass from listening to early Photek, Goldie, Adam F, DJ Rap, Boymerang & Source Direct
I mostly get inspired by artist like Future Engineers, Aural Imbalance, LM1, Seba, ASC and Blu Mar Ten. 
Other producers I like recently would be Bass Flo, Galaxi, Tidal, Okee, and Killin Time

atmoteka: Do you look for inspirations outside d'n'b? If so, where do you tend to search for 'creative input'?

OutSource: Most of creative inspirations comes from outside of music.  It usually comes from movies, documentaries, art work, books,  or video games.  It's easier for me to approach a new tune with a theme & song title already in my head.  

atmoteka: Thanks for your time and involvement in our project! Any last words to our listeners and readers out there?

OutSource: Anytime!  I hope everyone enjoys my mix.  Thanks to all the listeners for the support on my releases.   Look out for more of my future releases on Propa Talent.

atmoteka: Thanks !

:: OutSource - atmoteka 2.0

Intersolar - SoulShatter (Aural Imbalance Rewire)
Kredit - Ascending Red (Future Engineers Remix)
OutSource - Vanquish
Galaxi - Red Planet
LM1 - Berlin (Future Engineers Remix)
OutSource - Destination
P.F.M - The Western (Remix)
Outsource - On my way
Bop - Skeptikos (Mav Remix)
OutSource - Time Lapse
Okee & Aural Imbalance - Beneath the Surface
KMC - System
Adam F - Aromatherapy
Outsource - Thought process
Tidal - Blue Hours (Aural Imbalance Rewire)
LM1 & Indigo Sync - The 591
DJ Rap - Hardstep Remix (OutSource Remix)

photo : Superfamous
artwork : Saimonse


czwartek, 11 grudnia 2014

asx - atmoteka 1.12 + Interview

asx born and bred in Poland, where the Sun rarely shines and stolen German cars are most often found, I have been into and around drum & bass for quite a while, though my record collection expands into many different directions and genres. Yet, as the English language allows for the pun to follow, I like to emphasize that it all started from scratch :P Indeed, turntablism was the thing that drew me behind the decks and after all these years I still like to make use of what I've learned so far. However, as far as drum & bass is concerned, there are virtually no limits to what I play (with the small exclusion of the style embodied by McDonald’s most representative figure :P ).

:: Wywiad - POL

Saimon : Adrian Sikora czyli asx. Urodzony w Zamościu, aktualnie mieszka w Warszawie. Wielki miłośnik i kolekcjoner muzyki oraz Dj. Napisz jak to się stało, że muzyka 'zawładnęła' Tobą w taki sposób, że poświęcasz jej praktycznie każdy wolny czas oraz pieniądze ?

asx : Hah, dobre pytanie! Z muzyką chyba zawsze było mi po drodze. A jak to się stało, że muzyka ma tak przemożny wpływ na moje życie? Wydaje mi się, że po części jest to zasługa mojego domu rodzinnego, gdzie zawsze było pełno różnej (dobrej!) muzyki. Ojciec grał swego czasu w zespole rockowym, a kiedy zaczął podróżować służbowo po świecie, zdarzało mu się przywozić do domu różne albumy, których na pewno nie sposób było zdobyć lokalnie. Pamiętam, że przywiózł np. pierwszą składankę EARTH Bukema z zagranicy; miałem wtedy chyba ze 12 lat i byłem oszołomiony tym, co tam usłyszałem. Słuchaliśmy tego całymi tygodniami! To przez ojca trafiłem na The Prodigy, na Massive Attack, ale też na Led Zeppelin, King Crimson, etc. Z czasem chyba przywykłem do tego, że gdzieś w tle rozbrzmiewają zawsze jakieś dźwięki i to przyzwyczajenie towarzyszy mi w moim dzisiejszym życiu. Lubię, kiedy muzyka jest czymś więcej niż tylko zbiorem dźwięków. Muzyka napędza i inspiruje mnie do działania, a jednocześnie koi i pozwala podróżować w głąb siebie, a sądzę, że od czasu do czasu każdemu z nas się to przydaje. A mówiąc bardziej personalnie, kiedy myślę o rzeczach ostatecznych, to najbardziej boję się starości. A muzyka ma do siebie to, że się nie starzeje. Po prostu jest. Zawsze i obok czasu.

Saimon : Dlaczego drum n bass znalazł się w gronie Twoich ulubionych gatunków, szczególnie atmospheric dnb ?

asx : Dlaczego drum & bass? Wydaje mi się, że taka jest moja predyspozycja. W ogóle sądzę, że każdemu z nas ‘pisane’ są pewne gusta, preferencje, etc. Jeden reaguje żywo na np. 4x4, a inny z kolei traci głowę przy synkopie, chociaż wcale nie oznacza to, że muzykę odbieramy zerojedynkowo, no bo w końcu może podobać nam się i to, i to. Jednak nie da się ukryć, że pewne skłonności są silniejsze od innych. A w drum & bassie pociąga mnie moc i harmonia. Szybkie tempo przy jednoczesnej regularności struktury. Nie lubię melodii, które ‘wpadają w ucho’, a w drum & bassie nie ma tego tak dużo, na szczęście. Nie wgłębiam się tu w temat clownstepów  i UKF, bo to w ogóle osobna bajka, której nawet nie śledzę. W każdej rodzinie znajdzie się zresztą jakaś czarna owca. Atmosferyczny drum & bass urzeka mnie głębią bassline’ów, różnorodnością sekcji rytmicznej (bo masz tu i te bardziej ‘klasyczne’ rytmy, i te bardziej minimalistyczne, i amen breaki) i pięknem tła. W ogóle ciężko jest mówić o muzyce bez przykładów, ale jestem przekonany, że ci, którzy też odnajdują się w atmo-d’n’b (tak jak np. Ty) wiedzą, o czym mówię, a jednocześnie ci, którym niespecjalnie po drodze z tym podgatunkiem d’n’b mogą odbierać to zupełnie inaczej. Atmo-d’n’b to w moim odczuciu połączenie siły, mocy i energii ze spokojem i melancholią. Coś blisko złotego środka.

Saimon : Kiedy zacząłeś zbierać płyty ? Jaka jest Twoja najcenniejsza zdobycz ? Opowiedz trochę o swojej kolekcji.

asx : Zacznijmy od płyt kompaktowych. Świadome kolekcjonowanie zaczęło się u mnie chyba pod koniec podstawówki, kiedy to w moich głośnikach królował zagraniczny rap. Obecnie moja kolekcja płyt CD liczy kilkaset sztuk. Nie wspominam oczywiście o kasetach magnetofonowych, których też mam od groma, no i są przecież jeszcze setki gigabajtów mp3… Ale przejdźmy do winyli. Kolekcjonowanie zacząłem od instrumentalnego rapu (po obejrzeniu filmu ‘Scratch’ i złapaniu zajawki na turntablism) zbierając jednocześnie płyty drum & bassowe. Myślę, że gdyby nie discogs.com, to dawno straciłbym rachubę moich płyt. Przez ok. 10 lat kolekcjonowania nazbierałem ponad 1200 płyt, z czego większość to – rzecz jasna – drum & bass, ale jest też sporo dubstepu (tego mroczniejszego, sprzed ery wobbli), breakbeatu, trip-hopu, IDMu, ambientu, rapu, jazzu i tzw. nowoczesnej klasyki. Najgorsze jest to, że lista tego, co chciałbym mieć już dawno przerosła listę tego, co posiadam! Ale uwielbiam winyle i raczej nie przestanę ich kolekcjonować. No i w zasadzie nigdy nie kupuję płyt z myślą o późniejszej odsprzedaży. A najcenniejsze sztuki z mojej kolekcji? Na pewno ‘Electrosoul System – See the Light’ wydany nakładem Camino Blue w liczbie 200 sztuk; na pewno ‘Sentient – Theorem’ (wczesne lata Covert Operations); na pewno ‘Seba – Blaze and Fade Out’ (prezent od majkiego z Białegostoku, też biały kruk); dodałbym tu jeszcze Kemal ‘Fucking Hostile’ – esencja ‘kwaśnego’ techstepu; a z kategorii nie-dnb – w zasadzie wszystko, co wydał Dennis Huddleston aka 36 – jego muzyka w połączeniu z artworkami to majstersztyk w każdym calu. Jestem naprawdę dumny z faktu, że wziąłem udział w crowdfundingu jego dwóch albumu. Świadomość, że wspierasz projekt kierowany stricte do grona tych, którzy cenią tę muzykę tak jak ty jest naprawdę cenna. No i zobaczyć swoje nazwisko na okładce, wśród wszystkich tych, dzięki którym dany album został wytłoczony – bezcenne.

Saimon : Jakiej muzyki słuchasz obecnie najczęściej ? Są artyści, których poczynania śledzisz najbardziej ?

asx : Powiem Ci, że zdarza mi się ‘zawiesić’ nad jednym albumem lub kilkoma na dobrych parę dni, ale mam też okresy, kiedy słucham albo konkretnego rodzaju muzyki, albo konkretnego producenta/kompozytora/zespołu, albo też dozuję sobie różne gatunki po trochu w ciągu dnia. Obecnie najczęściej w moich głośnikach goszczą The Future Sound of London, Nils Frahm, Helios/Goldmund, the Flashbulb, Cliff Martinez, 36, Boards of Canada, Carbon Based Lifeforms, ASC, ENA, Sam KDC, Overlook, Clarity, Ruffhouse, Paragon, LM1, Kiyoko, Ryan Teague, Olafur Arnalds, Bop, Amon Tobin, DJ Shadow, DJ Food, Yagya… cholera, długo by wymieniać, ale myślę, że przedstawiłem właśnie i tych, których słucham najczęściej, i jednocześnie tych, których dokonania śledzę najchętniej. Ale jestem przekonany, że listy nie zamknąłbym nawet setką artystów. Ciężko to wszystko spamiętać, ale na szczęście jest last.fm, z którego od kilku lat korzystam w zasadzie codziennie. Bardzo użyteczna biblioteczka.

Saimon : W jakim klubie grało Ci się dotychczas najlepiej i dlaczego ?

asx : Hmm… od jakiegoś czasu nie mam zbyt wielu okazji, by pograć, dlatego też jest mi całkiem łatwo sięgnąć pamięcią wstecz i wyłowić co żywsze wspomnienia. Zdecydowanie najlepiej wspominam imprezę ‘Mechanizm’ w klubie Carpenter Inn w Olsztynie, gdzie wspólnie z Sho i kolektywem Kontrapunkt świętowaliśmy wydanie pierwszego winyla wytwórni Absys Records. To był rok 2010. Rewelacyjna publiczność i niesamowity klimat. Tego wieczora czułem, że wiem, dla kogo gram i że ci, dla których gram rozumieją moją muzyczną opowieść, bo staram się, by każdy mój set był swego rodzaju muzyczną opowieścią. I tak chyba rzeczywiście było. Dzięki, moskwa! To na pewno nie ostatni raz.

Saimon : Najważniejsze dla Ciebie albumy życia oraz najważniejsze albumy ostatnich 3 lat ?

asx : Wiesz, że zadawanie mi takich pytań grozi co najmniej książką? A serio, to postaram się tym razem ugryź to pytanie wyjątkowo zwięźle. Najważniejsze albumy w moim życiu jak dotąd? Cliff Martinez – ścieżka dźwiękowa do filmu ‘Solaris’; Helios – ‘Unomia’, ‘Eingya’ i ‘Unleft’; FSOL – ‘ISDN’ i ‘Dead Cities’; Nils Frahm – ‘Electric Piano’; DJ Food – ‘Kaleidoscope’; DJ Shadow – ‘Endtroducing…’; Deftones – ‘White Pony’; Korn – ‘Issues’; 36 – chyba każdy album; De La Soul – ‘Buhloon Mindstate’ i ‘Stakes is High’; Onyx – ‘Bacdufucup’ i ‘All We Got Iz Us’; Wu-Tang Clan – ’Enter the Wu-Tang (36 Chambers)’ i ‘Wu-Tang Forever’; GZA – ‘Liquid Swords’; Method Man – ‘Tical’; Redman – ‘Dare Iz a Darkside’; Jamiroquai – ‘Emergency on Planet Earth’, ‘Travelling Without Moving’ i ‘Dynamite’; RGG Trio – ‘Straight Story’ i ‘ONE’; King Crimson – ‘In the Court of the Crimson King’; ASC – niemal każdy album; Erik Truffaz – ‘Walk of the Giant Turtle’; Kryptic Minds – ‘One Of Us’; 2562 – ‘Aerial’ i ‘Unbalance’; Amon Tobin – ‘Bricolage’, ‘Supermodified’ i ‘Permutation’, Olafur Arnalds ‘Living Room Songs’… Cholera, naprawdę długo by wymieniać, a jeśli chodzi o najważniejsze albumy ostatnich 3 lat, to proponuję ograniczyć się jednak do roku 2014; tutaj sytuacja wygląda tak: ENA – ‘Binaural’, The Future Sound of London – ‘Environments V’, Tycho – ‘Awake’, Printempo – ‘Fluctuation’, A Winged Victory for the Sullen – ‘Atomos’, 36 – ‘Dream Tempest’, Clarity – ‘Infinite’, HV/Noon – ‘HV/Noon’. To tak na szybko z ‘pamięci podręcznej’, chociaż gdybym miał się lepiej zastanowić, to na pewno znalazłoby się coś jeszcze :]

Saimon : Muzyczne plany na przyszłość ?

asx : Chcę znaleźć w końcu chwilę czasu na nagranie kilku miksów, do których tracklisty kompletuję już parę ładnych lat. Mam na myśli głównie miksy z pogranicza ambientu/modern classical/IDM (choćby dla portalu Secret Thirteen), ale też miksy dubstepowe, d’n’b, czy bardziej turntablistyczne a la Scratch Perverts. Generalnie planów jest zawsze sporo, ale czasu oczywiście za mało, by to wszystko zrealizować.

Saimon : Jako współtwórca projektu atmoteka kończysz mixem pierwszą serię. Napisz proszę kilka słów o secie, który przygotowałeś.

asx : Korzystając z okazji chcę powiedzieć, że jestem naprawdę dumny z tego, że udało nam się doprowadzić projekt atmoteka do etapu, gdzie artyści sami piszą do nas z pytaniem o możliwość nagrania miksu dla nas. Nie byłoby to możliwe bez Twojego ogromnego zaangażowania i wkładu merytorycznego, Szymku :] A co do mojego miksu, to moją intencją było ukazać atmo-d’n’b w dość szerokim przekroju, bo piękno tego rodzaju d’n’b polega na tym, że masz tu zarówno dzikie, rozpędzone amen breaki, jak i kojące elementy tła skąpane potężną falą basu. Kiedy gram d’n’b, mam w zwyczaju sięgać po kawałki wydawane na przestrzeni nawet kilkunastu lat i największą satysfakcję osiągam wtedy, kiedy udaje mi się stworzyć spójne połączenie przeszłości i teraźniejszości. Mam nadzieję, że udało mi się przemycić kilka takich właśnie akcentów i w tym miksie.

Saimon : Dziękować !

:: Interview - ENG

Saimon : Adrian Sikora aka asx. Born in Zamość, currently residing in Warsaw. A great music lover, an avid vinyl collector, and a passionate dj. Can you tell me how you got ‘possessed’ by music? As far as I know, you tend to dedicate it a great deal of your time, not to mention the associated expenses…

asx : That’s a good one! I think I’ve always been somehow close to music – and music has always been around me, so to speak. And why does it have such an overwhelming influence on my life? Well, I think that partially it’s something I’ve gained at home in my childhood. My dad used to play in a rock band, and when he started travelling on business later on, he used to buy many different records which were impossible to buy in our hometown. I remember that one time he bought the first volume of Bukem’s EARTH when he was abroad; when he came home with the CD, I was totally blown away! I was 12 back then. We used to listen to the album for weeks straight! My father actually exposed me further to, for instance, The Prodigy, Massive Attack, but also to Led Zeppelin, King Crimson, etc. I think I got used to the fact that there has always been some sound in the background and this ‘habit’ is something that accompanies me today. I like music which is something more than a pure collection of sounds. To me, music is a driving force behind action, but at the same time it puts my mind at ease and lets me travel introspectively inside myself; by the way, I think the latter is something that most of us would greatly benefit from, at least from time to time. And speaking from a more personal point of view, when I think of ultimate matters, I fear being old. And the thing about music is that it doesn’t age. It’s timeless. It’s just there, existing always beside time.

Saimon : Why is drum n bass among the top of your favourite music genres, and why atmospheric d’n’b in particular?

asx : Why drum & bass? I believe that this is my predisposition to some extent. I think that in general we are ‘predestined’ to have certain tastes, preferences, etc. For example, someone can react vivdly to 4x4, but someone else will lose their mind for syncopation. This doesn’t mean that our preferences are black or white only, since it is very common for us to enjoy different types of music. Still, it’s actually obvious that everyone of us has a penchant for one type of music over another. And coming back to drum & bass, I find it personally attractive because of the combination of power and harmony. Quick pace with harmonized structure at the same time. I hate ‘catchy’ melodies, and fortunately drum & bass is not so full of such – on condition that we don’t talk about clownstep and UKF, as this is a completely different story; there’s always some rotten apple in every family, I guess. Atmospheric d’n’b enchants me with the depth of basslines, the variety of rhythm (ranging from classic structures, through more minimal bits, to amen breaks) and the beauty of soundscapes in the background. It’s really hard to talk about music without using examples, but I’m quite convinced that those who feel the same about atmo-d’n’b (like you) know what I’m talking about, and that those who are not so fond of it may tend to disagree. Either way, to me, atmo-d’n’b is a combination of force and energy with inner tranquility and melancholy, something close to the golden mean.

Saimon : When did you start collecting records? What’s the most precious item in your collection? Tell me a bit more about it.

asx : Let’s start from CDs. I started collecting them consciously somewhere around the end of the primary school – the time of my craze for foreign rap music. At present, I own several hundred CDs, not to mention dozens of tapes and – of course – the shameful collection of hundreds of gigabytes of mp3s! But let’s move on to wax. First, I used to collect instrumental rap records (after watching ‘Scratch’, which got me hyped on turntablism) and drum & bass at the same time. I think I’d lose count of my collection if not discogs.com. I’ve been collecting vinyl records for around 10 years and during that time I’ve managed to hoard about 1,200 records. The collection is composed mostly of d’n’b, of course, but there is also a lot of deeper dubstep, breakbeat, trip-hop, IDM, ambient, rap, jazz and the so-called modern classical music. The worst thing is that my wantlist has become bigger than my actual collection! But I really love vinyl and I won’t stop collecting records, that’s for sure. And I actually never buy records to sell them later on. And the most precious items? Well, I’d say it’s ‘Electrosoul System – See the Light’ released by Camino Blue in 200 copies; ‘Sentient – Theorem’ (the early days of Covert Operations); ‘Seba – Blaze and Fade Out’ (a gift from majki from Białystok); I’d also add Kemal ‘Fucking Hostile’ – the essence of ‘acid’ techstep; and moving on to non-d’n’b – basically every release by Dennis Huddleston aka 36 – his music combined with artworks is a masterpiece in every detail. I’m really proud to have taken part in crowdfunding of two of his albums. The awareness that you support a project addressed strictly to like-minded people is invaluable. Plus, when you see your name on the inside cover of such album, among all those who supported it just like you – this is truly priceless.

Saimon : What kind of music do you listen to most often? Are there any artists whose output you’re particularly fond of?

asx : To be honest, I sometimes tend to get hyped on one particular album (or a few) for a couple of days, but there are also periods when I listen to a specific type of music, or one artist/producer/composer/band/group only; alternatively, I tend to provide myself with regular doses of different genres throughout the day. My most recent selection features artists like The Future Sound of London, Nils Frahm, Helios/Goldmund, the Flashbulb, Cliff Martinez, 36, Boards of Canada, Carbon Based Lifeforms, ASC, ENA, Sam KDC, Overlook, Clarity, Ruffhouse, Paragon, LM1, Kiyoko, Ryan Teague, Olafur Arnalds, Bop, Amon Tobin, DJ Shadow, DJ Food, Yagya… damn, the list could go on and on! But I think I’ve managed to name both those who I listen to most often, and those whose music I’m most fond of at the moment. But I’m pretty sure that I would find it impossible to close the list with even a hundred of artists! It’s really hard to remember everyone, but there is last.fm, which makes it easier to trace your musical library..

Saimon : What club did you enjoy djing in most? Why?

asx : Hmm… I haven’t had bookings for some time, so it’s actually quite easy to recall the more vivid memories. I had my best night as a dj at Carpenter Inn in Olsztyn. The name of the event was ‘Mechanizm’ and it was an occasion to celebrate – together with Sho and Kontrapunkt team – the first vinyl release of Absys Records. It was 2010. The audience was absolutely amazing, and the atmosphere was magical. That night I felt I knew who I was playing for, and that those who I was playing for understood the story behind my mix. When I play, I always try to create a story, not just put together some tracks at random. And that was the night when everything was just right. Thanks a lot, mokswa! I’m sure it’s not the last time we do something together.

Saimon : Top albums of your lifetime and top albums from the recent 3 years?

asx : You do realize that there is a risk I can give you at least a book as the answer to such question? :] But speaking seriously, I’ll try to handle it rather ‘briefly’. Here goes the list of my all-time favourites so far. Cliff Martinez – ‘Solaris’ soundtrack; Helios – ‘Unomia’, ‘Eingya’ and ‘Unleft’; FSOL – ‘ISDN’ and ‘Dead Cities’; Nils Frahm – ‘Electric Piano’; DJ Food – ‘Kaleidoscope’; DJ Shadow – ‘Endtroducing…’; Deftones – ‘White Pony’; Korn – ‘Issues’; 36 – every single album, actually; De La Soul – ‘Buhloon Mindstate’ and ‘Stakes is High’; Onyx – ‘Bacdufucup’ and ‘All We Got Iz Us’; Wu-Tang Clan – ’Enter the Wu-Tang (36 Chambers)’ and ‘Wu-Tang Forever’; GZA – ‘Liquid Swords’; Method Man – ‘Tical’; Redman – ‘Dare Iz a Darkside’; Jamiroquai – ‘Emergency on Planet Earth’, ‘Travelling Without Moving’ and ‘Dynamite’; RGG Trio – ‘Straight Story’ and ‘ONE’; King Crimson – ‘In the Court of the Crimson King’; ASC – virtually every album; Erik Truffaz – ‘Walk of the Giant Turtle’; Kryptic Minds – ‘One Of Us’; 2562 – ‘Aerial’ and ‘Unbalance’; Amon Tobin – ‘Bricolage’, ‘Supermodified’ and ‘Permutation’, Olafur Arnalds ‘Living Room Songs’… Darn, it could go on and on again, but if we’re talking about the top albums of the last 3 years, I’d suggest to limit the selection to 2014 only, and the list would go more or less like this: ENA – ‘Binaural’, The Future Sound of London – ‘Environments V’, Tycho – ‘Awake’, Printempo – ‘Fluctuation’, A Winged Victory for the Sullen – ‘Atomos’, 36 – ‘Dream Tempest’, Clarity – ‘Infinite’, HV/Noon – ‘HV/Noon’. I picked those off the top of my head, but I’m sure there would be many more albums if I could think longer :]

Saimon : Any future plans in terms of music?

asx : I would like to finally find some time to record a couple of mixes for which I’ve been completing the tracklists for a couple of years. I mean ambient/modern classical/IDM mixes (for e.g. Secret Thirteen), but also dubstep, d’n’b, and turntablistic mixes – a la Scratch Perverts. In general, there are many plans, as always, but there is of course not enough time to handle everything – also as always ;]

Saimon : As the co-founder of atmoteka, you’re the one to close the first series of mixes. Tell us a few words about the mix you’ve put together.

asx : First, I’d like to take this opportunity to say that I’m really proud of the fact that we’ve managed to take atmoteka to a stage where we receive questions from different people about the possibility to record a mix for us. It would not be possible without your huge involvement and input, Saimon :] And talking about my mix, I intended to present a wide cross-section of atmo-d’n’b, since the beauty of this subgenre is based on variety; you’ve got breakneck-paced amen breaks, as well as soothing backgrounds, and all of it overwhelmed with a wall of bass. When I dj, I tend to mix tracks released over a longer period of time, like a dozen or so, and I’m definitely most happy to see that there are tracks which fit together even despite the fact that one of them is way back from the past and the other is some recent gem. I hope that I’ve managed to include a few such combinations into this mix.

Saimon : Thanks a lot !

:: asx - atmoteka 1.12

36 - Dawnspace | 3six
Tipper - Illabye | Myutopia
Antibreak - A Block Turned To Rubble [Red Mist
Survied & Envya - Solipsism | Offworld
Implex - Ocean of Oceans |Covert Operations
Infest & Quasi - Uprising | Omni Music
Solar Empire - Arctic Circle | Covert Operations
Probe One - Polaris | Covert Operations
Alaska - Kodiak | Arctic Music
Method One - Pressure Waves | Levitated
Mav - Atomic Collision | Covert Operations
Future Engineers - Stasis (Andy Bubbles VIP) | Camino Blue
Overturn - Turn Off the Light (ESS Remix) | Covert Operations
Kubatko - Flying Without Wings | Red Mist
LM1 - Ambient Traveller | Covert Operations
Arje - Controlled Emotions | Covert Operations
Genom - Adventure Island | Covert Operations
Mav - The Scientific Way | Covert Operations
ASC - Space Technique (The Nvious Vocal Mix) | Covert Operations
36 - Dawnspace | 3six
Intex Systems - Glaciers | Covert Operations
ICR - Such Unimportant Things Like Us | Fokuz

download  | mixcloud

photo : Alex Talmon
artwork : Saimonse


niedziela, 16 listopada 2014

Orange n Blue - atmoteka 1.11 + Interview

Orange n Blue originally started out as a dj holding residency at the legendary Brunel Rooms during the height of the rave scene in the early 90’s. During his early years of production, he was featured in several music publications including; Dj Magazine and The Mix - where Rob green concluded that his music was “million dollar material”. Despite the interest in his music from several labels during the second half of the 90’s, he never committed to signing himself to any exclusive contracts.

In 2002, after a few years break he joined forces with Cadence Recordings and along with Aural Imbalance has been responsible for shaping the labels highly respected sound output during recent times. He also put out limited vinyl releases on his own label ‘Cintamani’ and has produced music for commercial business as part of his work with design agency Planet Purple. Orange n Blue’s music is supported across the board by local and household name Dj’s, clubs and radio shows.

:: Interview

atmoteka : Hello! How are you doing? What have you been up to lately in terms of music ?

OnB : Apart from a few remixes and some Djing, most of my contact with music has been on the listening end of the spectrum lately.

atmoteka : Why ‘Orange n Blue’ ? What’s the story behind the nickname ?

OnB : Well there is a little bit of a story behind that. I have an interest in the Sanskrit Philosophy of ancient India, and the source of all creation, according to the Vedic texts is a personality known as ‘Krishna’, who is also the source of the syllable OM - the original sound vibration throughout the universe. Krishna is described as being blue, or the colour of a dark rain cloud in complexion and wearing orange garments - hence the name Orange n Blue.

atmoteka : How long have you been into music production? Who has been your biggest inspiration to date ? What inspires you to write a new piece ?

OnB : I started producing music 20 years ago and I really can’t put any one person or artist down as a main inspiration as there are so many that have and still inspire me.

atmoteka: Can you name a couple of ‘timeless’ tracks or producers that you’re a real big fan of ? You don’t have to limit yourself to d’n’b only.

OnB : In terms of dnb Artist; Pete Parsons and Photek. As for tracks by non dnb artist; Pressure Drop ‘Dusk’ and Israel Kamakawiwo’ole ‘Hawai’i ‘78’.

atmoteka : Why ‘atmospheric’ d’n’b ? What do you find so attractive about this type of drum & bass ?

OnB : I love the duality of big sub bass and cracking amens against the backdrop of a beautiful soundscape. It shouldn’t work, but it does. It has a magical quality that is unique even within the drum n bass scene. Something for the mind and feet all wrapped up in one bundle.

atmoteka : Producing or djing ? Which of these is more enjoyable for you today? Has it always been like that, or has it changed with time ?

OnB : I started out as a Dj back in 1990 during the height of the rave scene in the UK and 4 years later sold my decks and vinyl to purchase an Atari ST and Emu sampler to produce my own material. These days, because I’m not a prolific producer or dj, I get equal pleasure from them both.

atmoteka : Is there any type of music – besides d’n’b – you’re very fond of ? Or, on the other hand, any type you rather steer clear of ?

OnB : I have a collection of muic that covers just about every genre and age. The only thing you won’t find in there is ‘Happy Hardcore’. I would rather listen to Death Metal and I ain’t got any of that either !

atmoteka : Do you think that the golden era (let’s call it) of atmospheric d’n’b is way behind us ? Or is this ‘section’ of d’n’b still doing well today ?

OnB : It was the golden era because it was new, fresh and exciting and at the time was part of the overall course of drum n bass. In today’s scene it has retreated to make up one smaller sub Genre. It may not be on the scale or quantity of the past, but there are great producers and tunes still being made today for sure.

atmoteka : Can you tell us a few words about the mix you’ve prepared for us ? Is it rather a random collection of tracks you enjoy at the moment, or a thought-out list of pieces of music to tell a story as a whole ?

OnB : Basically I just selected a mixture of tunes, both new and old that pretty much sum up what Orange n Blue is all about. For me, good music is timeless and you are likely to hear me mixing 20 year old tunes and dubplates within the same set. After all, there’s lots of younger people that are hearing the older tunes for the first time and it’s just as fresh to them today as it was to me 15 years ago.

atmoteka : What are your plans for the future? Any forthcoming releases on Cadence up your sleeve?

OnB : There is a forthcoming remix by myself of ‘Static -The Greys’ due for release shortly and also a track on ‘Project 15’ both on Cadence. I also have a couple of tracks in collaboration with an old friend due to start anytime.

:: Orange n Blue - atmoteka 1.11


Intersolar - Sunchaser| Sonata Rec
Berkheya - Artificial Intelligence | Monochrome Rec
Calibre - The Wash | Signature Rec
Flowrian - Valencia (Enea Deep Dry Remix) | Fokuz Rec
Arp-1 & KP - Orient Express | Soul Deep Rec
Poschek - Change A Thing | Influenza Media
Antidote & R-Dub - Perenial Spring | Antidote Self-released
Bass'Flo - Dreamwalker | Offworld
Bungle - Astral Travel | Soul:R
Bass'Flo & Ziyal - Invisible Worlds (Aural Imbalance Rework) | Cadence Rec
The Sentinal - Toulépleu  (feat. Co-Co) | Basement Rec
Earl Grey - My Soul's On Ice | Rugged Vinyl Rec
Infest - Out Of This World | DCSI4

download | mixcloud

photo : Lee Scott
artwork : Saimonse



wtorek, 28 października 2014

Future Engineers - atmoteka 1.10 + Interview

Future Engineers is a name that needs no introduction - especially if you have been into atmospheric drum & bass for more than a while. The project is now run solely by Lee Batchelor. He was kind enough to spare us a bit of his time and answer a few questions we prepared in the form of an interview. Here are a few words on the current condition of the drum & bass scene, on inspirations, on the plans for the future, and on the mix recorded especially for atmoteka by the man himself.

:: Interview

atmoteka : Talking about the ‘here & now’, do you personally enjoy the course that drum & bass has taken in recent years ?

Future Engineers : I think the drum and bass scene is really healthy at the moment and has been for a long time. For me it’s still the most exciting music to write, I don’t get the same buzz from producing other styles of music.

atmoteka : Did you imagine drum & bass to evolve the way it has ? Or are you actually more surprised/disappointed/happy with the way things turned out ?

Future Engineers : It’s great how diverse the scene is and a lot of producers and labels are releasing music across the full spectrum of drum and bass.

atmoteka : As one of the ‘godfathers’ of the more techy atmospheric side of drum & bass, do you think that there is a room for this type of drum & bass on the market of today ?

Future Engineers : Godfathers? Haha. The scene always tends to come round full circle, there’s always been a techy side to dnb and new producers are incorporating the atmospheric sounds again, it just needs to be updated to fit in with the latest production styles.

atmoteka : When you get yourself ready to get down to producing music, do you listen to drum & bass in search of inspiration, or do you rather look for input in other genres ?

Future Engineers : I do listen to other styles of music for inspiration but I also think it’s important to keep your ear to the ground in terms of what’s happening in the current drum and bass scene, what styles are working in the clubs etc.

atmoteka : Would you agree with the statement that today’s music market is more about quantity than quality ?

Future Engineers : There’s definitely more quantity out there now due to accessibility and there’s less of a need for an established label to act as a ‘Gate keeper’ therefore the quality control can tend to suffer a bit.

It’s a level playing field now with the Internet and the technology at your fingertips. There’s nothing to stop you getting your music out there and promote yourself as long as you keep that internal quality check at your highest standard.

atmoteka : As a ‘veteran’ of the drum & bass industry, tell us if living off making drum & bass is possible.

Future Engineers : Christ, I’m starting to feel really old now! Lol. I personally don’t make a living from making music and I guess it can depend on what style you make, how motivated and disciplined you are to treat it as a full time job and really know the business side of things. The Djing can definitely help if you have a good profile and an established label.

atmoteka : Can you imagine yourself producing any other type of music ? Have you actually ever tried your hand at any other musical genres ?

Future Engineers : I think, as you get older your taste in music matures and you want to experiment with new styles. There certainly can be a benefit to writing other music so you have a fresh approach to an idea when working at a slower tempo for example. I’ve written a few non-dnb tracks in the past, but nothing that’s been released to date.

atmoteka : If you could name 5 albums that have been the biggest inspiration to you – off the top of your head, what would they be ?

Future Engineers : I’m quite bad with naming specific albums but in terms of producers, there’s been a handful that have inspired our sound over the years like, Photek, PFM, Blame, Global Communication, Teebee, Hybrid.

atmoteka : Are there any names or labels on today’s drum & bass scene that you try to be up-to-date with ?

Future Engineers : A lot of the producers and labels that feature on the mix are a good representation of the stuff I’m feeling at the moment.

atmoteka : Recently you've moved to Melbourne. Tell us about your life in Australia. Does the new location have an influence on the music you produce ?

Future Engineers : I now live in Elwood near St Kilda in Melbourne, which has a very similar vibe to Brighton in the UK where I stayed for 4 years. The drum and bass scene seems pretty healthy here; there’s always nights going on with UK headliners coming over. There are some wicked producers that are based here too like Safire and Nocturnal who both represent the harder style of drum and Bass, so maybe their influence may toughen up my sound a bit…

atmoteka : What are your plans in terms of releases/music production for the nearest future, and what are your plans regarding Transference Recordings ? Is there any solo album of yours to finally see the light?

Future Engineers : I am currently getting the website rebuilt and have a few new releases being finalized at the moment so I plan to have things rolling before the end of the year. It’s too early to be specific but I’m looking forward to getting the label moving again…

atmoteka : To sum up, could you tell us a bit about your mix for atmoteka ?

I recorded the set using Serato and I feel with the mix I’ve kind of gone full circle in terms of the selection. The majority of the tracks are released and cover the spectrum of artists and labels that I follow in the scene. It reminded me of back in the day when we’d be buying all the latest vinyl and aspiring to produce music. It’s been a while since I’ve been able to play a set across the board and feel like the selection has come naturally…

 :: Future Engineers - atmoteka 1.10

Oscillist - Sable | Scientific 
Blu Mar Ten - Remembered Her Wrong (Anile Remix) | Blu Mar Ten Music
Future Engineers - Ellipse | Transference Recordings
Future Engineers - Scratch in the Surface | Transference Recordings
Klax - Blackball | Critical Music
Electrosoul System -Time Express (Future Engineers Remix) | Kos.Mos.Music
Electrosoul System - Teardrop (Intelligent Manners & Command Strange Remix) | Kos.Mos.Music
Radicall - Ghost Notes | Absys Records Dub
Mako - Moonlight (Break Remix) | Warm Communications
Future Engineers - Synthesis | Kos.Mos.Music
Definate - Never Lasting | Authentic Music
Technimatic - Innermost | Shogun Audio
Operon - Peace Be Unto You | Dub
Bungle - Lights | Scientific
Future Engineers & Eschaton - Ascension | Omni Music Dub
Ulterior Motive - Sideways | Metalheadz
Blu Mar Ten - In Your Eyes (Ulterior Motive Remix) | Blu Mar Ten Music
Safire & 3rd Eye - Lunar Park | Subtitles Music
Dabs - I Can Feel | Dispatch Recordings
Subtone & Knox - Ivory | Dub
Foreign Concept - Endless Fade (feat. Naomi Olive) | Critical Music
Nelver & Elleven - War of the Worlds | Offworld Dub
Foreign Concept - The Volks | Critical Music
Hybris - Garbage Truck | Invisible 
Bop - Blurred Memories (feat. Synkro) | Medschool 


photo : Christian Hebell
artwork : Saimonse

:: Future Engineers - bio

Lee Batchelor and Keir Cleminson are Future Engineers, a Glasgow based drum and bass production outfit, best known for their music that was released by LTJ Bukem’s Good Looking Organisation between 1999 and 2003, and also for the progressive, dance floor friendly DJ sets that they have performed across Europe.

They released their seminal 12” (“The Silence”/“Shattered”) on Renegade Recordings in 1997, quickly followed by popular material on labels such as Temple Records and Partisan Recordings. Almost 10 years since they first broke onto the scene, they have retained their reputation as a boundary-pushing and prolific drum and bass act. Their solid working relationship has been built on the foundations of a life-long friendship, having grown up together in North London and then Glasgow when Keir relocated there in 1990, followed by Lee in 1994.
From early childhood they were constantly surrounded by music – from studio sessions to live concerts – due to their fathers who were working together in the industry. Most notably, Keir’s father was lead guitarist in The Sensational Alex Harvey Band and Lee’s Father co-produced some of their albums (he also co-produced “Slide Away” for Oasis on their debut album “Definitely Maybe” years later!) As a result of this exposure and the uptake of musical and studio know-how, it was a natural choice by Lee and Keir to pursue a similar career to their fathers.
As teenagers in the 1990s, they listened to London’s pirate radio stations, following the progression of early Hardcore through to Hardcore Techno, Jungle Techno, Jungle and then Drum and Bass – learning the sounds along the way with a view to producing material of their own in future. When Lee moved to Glasgow, bringing with him some studio equipment that he had collected, the pair began to experiment in writing a variety of styles of drum and bass. But it wasn’t until they heard LTJ Bukem’s first Radio One Essential Mix in July 1995 that they identified the kind of sound they were most interested in creating, and tailored their approach in the studio accordingly. Around this time, they also befriended a fellow Glaswegian drum and bass producer, KMC, who had built up a good reputation (and knowledge of the scene) outside Scotland, and he encouraged them to relinquish a demo DAT in order to start the process of getting material signed to record labels.
The relationship with Good Looking Records began in 1999 when LTJ Bukem selected a track entitled “Timeshift” to be part of the third volume of his legendary Progression Sessions mix CD series. It was an instant fans’ favourite due to the futuristic synths and technological vibes that would become two abiding ingredients of Future Engineers’ sound. In the ensuing years, the duo released tracks on a variety of labels under the Good Looking Organisation umbrella – such as PHD’s Ascendant Grooves, Tayla’s Nexus Records and Blame’s 720 Degrees. The latter proved to be a particularly significant outlet for them within the Good Looking camp and their 12”s, “Changes in State”/”Rogue Comet” and “Momentum”/”Organism” played no small part in the fast growing reputation of that particular label.
By 2001 they were so highly regarded by the Good Looking Organisation, having almost all of their new music picked up by the labels within, that Lee and Keir accepted the offer to sign an exclusive artist contract. In addition to agreeing a structured release schedule, this presented an opportunity for Future Engineers to showcase their DJ talents at some of the Progression Sessions nights throughout Europe. It proved to be a good year for the Engineers; a track entitled “Merge” was selected to appear on MC Conrad’s Logical Progression Level 4 CD, and the boundary pushing, dance floor shaker “Echo-Location” was one of the highlights of LTJ Bukem & MC Conrad’s Progression Sessions 6, recorded live in the USA. 2002 saw the release of the “Technetium EP” – four slices of hard-edged, techno-orientated, atmospheric drum and bass – which was widely acclaimed by fans and music critics alike. This actually turned out to be the penultimate Future Engineers release on Good Looking Records – the last being a remix of Pariah’s “Midnight” in 2003.
Almost three years later, in early 2006, despite a lot of support and guidance from LTJ Bukem, MC Conrad and the rest of the Good Looking Organisation over the years, Future Engineers’ request to terminate the exclusive contract they had signed with them was accepted very amicably. This event marked the beginning of a new era and they did not hesitate to make their mark on the scene once again, releasing the popular “Down-Time” and a remix of Matizz’s “Through My Eyes” on Camino Blue Recordings, and a three track plate (including the much anticipated “Eon”) on Covert Operations Recordings.

(Source: www.futureengineers.net)



poniedziałek, 30 czerwca 2014

Moskwa & Saimonse - Biosfera Mix

mixcloud | soundcloud

_ Moskwa

Biosphere - Deviation [ Touch ]
Biosphere - Sphere Of No Form [ All Saints ]
Biosphere / Deathprod - Katedra Botaniki [ Rune Grammofon ]
Biosphere - The Third Planet [ Biophon ]
Biosphere - Altostratus [ Touch ]
Biosphere - Birds Fly By Flapping Their Wings [ Touch ]
Biosphere - Oi - 1 [ Touch ]

_ Saimonse

Biosphere - Bose-Einstein Condensation [ Touch ]
Biosphere - Poa Alpina [ Origo Sound ]
Biosphere - Feber [ Touch ]
Biosphere - Tranquilizer [ Origo Sound ]
Biosphere - Alla Diletta Mia [ Biophon ]
Biosphere - Caboose [ Origo Sound ]
Biosphere - Manicure [ Touch ]
Biosphere - Genkai-1 [ Touch ]

photo : Nini
artwork : Saimonse


Moskwa Blog
Saimonse Blog

czwartek, 8 maja 2014

saimonse - the dub in bvdub

So Saimon Saimonse is a little bit obsessed with bvdub – but who isn’t it? Brock Van Wey is more than a prolific artist, with more than a handful of albums per year under many monikers – he is a shaman weaving sonic landscapes that are just as beautiful as they are hypnotizing. It’s easy to drown in the trance-inducing waves of sound, light-churning beats, bass, and the trailing melodies that seem to go on forever, only to be ached for after they stop. And so, it’s easy to agree with Saimonse’s selection for this 90-minute podcast, which I am broadcasting from my hotel in London. In fact, on the way back from my quick weekend getaway in Prague, I boarded the plane, put on this lovely mix, closed my eyes, and when it was over, I was back in London. A fine trip in the company of a favorite artist! But as usual, don’t listen to my words – listen to the music and experience for yourself !

bvdub – it’s too late | quietus
bvdub – a prayer to false gods | shoreless
bvdub – my only friend | quietus
brock van wey – can’t go home without you | echospace [detroit]
bvdub & loscil – moirai | glacial movements
bvdub – gone tomorrow | darla
bvdub – peonies fall for kings | n5md
bvdub – two hours to forever (just ask me, i’ll stay) | n5md
bvdub – through the lower room, we rise higher | darla
bvdub – washed away in your waves (this is love) | ay
bvdub – peonies fall for kings (edit) | n5md
earth house hold – a little late for that now | peach
bvdub – today he felt life | n5md


words : Headphone Commute
cover design : Saimon Saimonse