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.



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

czwartek, 27 lutego 2014

NYP™ 014 — Saimonse

NYP™ 014 — Saimonse


They Live – 7998 | Exit
Mode – Riley | Ingredients
ASC – The Depths | Non Plus +
Senking – Breathing Trouble | Raster-Noton
Geir Jenssen – Summit /Only Slight Breeze On The Summit At 8201m/ | Ash International
Consequence – Fog | Exit
Reza & Gremlinz – Bloom | Samurai Horo
ASC – Fulcrum | Auxiliary
Hatti Vatti – Synthesis | New Moon
Central Industrial – Their Fleeting Memories | Auxiliary
Synkro & Manos – In My Arms | Apollo


artwork : LX
big thanks : NYP

piątek, 17 stycznia 2014

Saimonse - You Are My Music

And just like that, without wasting any time, we move into our regularly scheduled programming, with the very first mix of 2014! Saimon Saimonse has previously charmed our listeners with his gorgeous selections for “without you i’m nothing“, “Road to Home“, and of course, “time of brock van wey“. Saimonse’s choices seem to overlap with my favorite quality of the mind – melancholia, nostalgia and sentimentality. But this is not a bleak and desolate state of affairs… Rather a sound of a heavy heart with a slow roll of a tear…

Brambles – To Speak Of Solitude | Serein
Clint Mansell – Last Man | Nonesuch
Ludovico Einaudi – Walk | Decca
Thomas Newman – Route 12 | Nonesuch
Keith Kenniff – Aerial | Circle Into Square
36 – Dream Window | 3six Rec
Rudi Arapahoe – Conversation Piece | Symbolic Interaction
Jon Hopkins – Campfire | Domino USA
44 – Delusion | Free
Ludovico Einaudi – Life | Decca
Nest – Charlotte | Serein
Air – Alone In Kyoto | Astralwerks
Jacaszek – Lament | Gusstaff Rec
A Winged Victory For The Sullen – Steep Hills Of Vicodin Tears | Erased Tapes Rec
Karol Gwóźdź – Gûrnoślûnskje Tragedyje | Psychonavigation Rec


photo : Bea
cover design : Saimon Saimonse
words : Headphone Commute

wtorek, 29 października 2013

Saimonse - Road To Home

Saimon Saimonse is back once again for another mix on Headphone Commute Podcast. This time, he carefully picks his selections which span an hour long journey in just a few tracks. These slowly open up to reveal an inner beauty of each piece and unravel a sentimental journey – a journey on the road to home. Please enjoy responsibly and support the featured artists !

36 – Geiga | 3six Rec
Axs – Frozen Signpost | Silent Season
Marsen Jules – Lazy Sunday Funerals 01 | Autoplate
Lusine Icl – Without Standing | Hymen Rec
Ian Hawgood – Koma | Slow Flow Rec
Silence – Omid / Hope | Fax +49-69/450464
36 – Siren | 3six Rec
bvdub – When We Saved The World | AY

DOWNLOAD | Mixcloud

[ambient/dark ambient/headphone commute mix]

photo : Philip McKay
cover design : Saimon Saimonse

enjoy !