Steve Parry Q&A

Welcome to Magazine Sixty, Steve. You are about to unleash the labels 99th release: Selador Showcase – 8th Wonder, which features new music from several different artists. Can you talk us through how you choose the tracks for the compilation – what specifically makes a production right for Selador?

10 new tracks, all from different artists. We make a ‘showcase’ approx every 9 months, a various artist release of tunes that we like. It’s a good mixture of Selador artists and new faces to the label. We find a lot of people who release on the showcases deliver more tracks for EP’s later on, so it works really well for us. Dave and I often have tracks on these releases too.

Our only criteria for signing a track, is that Dave and I both like it and would play it. We don’t really have musical boundaries. It’s just music we like and would play, which is why some of our output is so varied. Over the years we’ve had music from Jimpster to dubspeeka, Danny Howells to Sasha Carassi, Joeski to Wally Lopez, Cristoph to Pirupa, and so many more. We don’t play one particular style of music when DJ-ing, and so we sign tracks that work for us, that we like. It’s a PR man’s nightmare trying to categorise us… but to us it just seems right.

For this release we had been sent just about all of the tracks as demos, and a few of our label friends we messaged to let them know we had a release and can they make something for us. It’s very useful being able to test the music out in clubs, in its natural environment, as sometimes tracks you like, suddenly become tracks that you love!


The release also features a great track from yourself: Michelada. How was the track produced and can you tell us about the studio set-up you use?

This one was a very unusual affair. It started off as a remix a year or so ago for another label, but then due to label problems, they still hadn’t released a year later. I’d started making it with Paul Nolan, who engineered it for me. It was made with Ableton, push 2 and a shed load of plug in’s and Paul’s technical knowhow. I know how to produce a bit, but I find my workflow so much faster working with an engineer. It’s also great to hear advice from a producer, and somebody to bounce crazy ideas off, that’s sometimes work! Ableton for me is very good, as I’m a ‘fiddler’ when making music. I try something, and then adjust it to see how it sounds. I drive engineers crazy. But sometimes it’s that fiddling and tweaking that can elevate a track.

I say it started as a remix and with Paul engineering, however a year later and as I say the remix hadn’t been released. I’d always wished it was an original track. Paul had started working on his own projects and his album, and I started working with Jay Gilbert at Scrutton Street Studios in Shoreditch, and I asked the label could I take the parts out from the remix, and make the track my own… and a few days later with Jay, this is what came out! Again a similar set up with jay to Paul and Ableton the DAW of choice. And some more fiddling.

So basically a remix that became an original, engineered by two different people.

You are also offering a DJ mix alongside the tracks. How would you describe the art of DJ’ing in 2019? And how would you compare it with the past?

The digital age has changed D J-ing a lot. The equipment has aided the DJ a lot. The ability to loop, use FX, basically re-edit the track on the fly has certainly helped my style of DJ-ing so much. I absolutely love using CDJ 2000’s and Pioneer mixes when playing out. It suits my style of DJ-ing. I DJ in a progressive style. I don’t think that I am a progressive house DJ, as I don’t think I actually play ‘progressive’… but I start at one point and like to build, to increase the energy as the set is flowing. It’s great for adding cheeky fills and FX on the fly.

DJ-ing for me has always followed that pattern. Even since I was a mobile disco DJ at weddings and the likes. I knew to start subtle and the evening should flow. Much in the same way, you wouldn’t go and see your favourite band, and they lay all of the big tunes early in the set and then leave you a bit underwhelmed. Musical programming is an art. I am a geeky nerd with stiff like that. I use to stand and study DJ’s in clubs like Cream for years.

I think other musical genres don’t have this musical flow so much, and its ‘let’s play as many big tunes in a row’. If it works for them cool, but its juts not how I like to do things when I play.

Can you tell us about how you first got into Dance Music, which were the most important clubs for you at the time, and how would you describe the club culture in Liverpool today? (Where can people get to hear you play?)

I wanted to be a radio DJ. I was about 13. I had no idea what it entailed, but it looked great. This was about 84’ish. Around then I was listening to a hand full of radio shows on BBC radio Merseyside. James Klass who played Hip Hop and the likes and Terry Lenanine ‘Keep On Truckin’ (and then later Kenny James who presented that show). I was buying Electro albums, and had discovered listening / watching DMC mixing championship videos!

As time went by, must have been 86/87 my friend Rick Houghton got a Mcgregor double deck system, and we started doing mock radio shows and running mobile disco’s. I spent all of the money I earnt buying records that I loved and building up my classic disco/soul collection and of course this new stuff to me called house music.

I ended up stalking radio DJ’s like Kenny James and Pete Waterman, and used to go and sit in on their radio shows, it was amazing! I was this fresh faced kid (no chance of me getting in to clubs) watching live radio shows and chatting to the presenters and learnt so much.

The label is following all this with release number 100, again featuring a number of impressive artists. Tell us about what it means for you and Dave Seaman to reach that milestone?

It felt like it was a thing to celebrate, it’s quite an achievement I suppose in this day and age to hit 100 releases. Its never been about the money for us running a label, which is a good job really..! It’s certainly a labour of love. Another string to your bow so to speak. And so it seemed right to make a big thing of it.

What is quite odd, is that I still feel like we are a fairly new label – time flies when you’re having fun I suppose. This is my first label, and so I’m constantly learning. I’d done a lot of things in the music industry, but it was the label that was the big one for me, the thing that eluded my musical and I love doing it. And I know Dave does too. We both wish we could spend more time running the day to day things, but we both sandwich the work for the label in between our other jobs and family life, which I suppose thinking about it, makes the achievement of 100 releases quite a milestone.

So we thought we needed to light a bit of a firework with this one – so we used 5 tracks from our 5th birthday release – where we asked lots of artists to collaborate to make us a track – and we hand-picked some of those gems, and got some hot new remixes made, which all in all ends up being a rather big team assembled to help us celebrate.

Andre Hommen and D-Nox & Beckers remixed Mine and Dave’s ‘Repeat Offender’, Doc Martin remixed Gorge & Joeski’s ‘Jogo’ track, Petar Dundov remixed Luke Brancaccio & Tim Healeys ‘I Hear Voices’, and Moonwalk have remixed Cristoph & Quivvers ‘In Name Only’, and Kotellet & Zadak have remixed Guy Mantzur & Lonya’s gem ‘Dynasty’, which aint too shabby a collection of musical friends if we do say so ourselves.


How do you feel about the overall quality of electronic music, given the competition generated by the internet and the easy access people now have to becoming producers etc?

It’s a double edged sword – there is so much terrible music, on half-baked labels with no quality control, made by people who don’t know much about making a tune, who don’t make it sound good, and use pre-sets galore and loops, with shoddy artwork and no promotion – which is all fine – however those said artists get annoyed when their music doesn’t do well.

You have to put the effort in. You don’t have to release every track you make. You don’t have to throw out half-baked ideas. You make a statement when you release a track – as an artist, a label and a remixer. It’s your musical legacy. I have tracks that are finished that are decent but I won’t release as they don’t reach the standard that I want to achieve.

I said it was a double edged sword – as on the other hand, there is so much great new music coming, that it is overwhelming. Week by week there is enough great new music lands to almost completely change your set. Masses of the stuff. And across genres too. Especially for somebody like me who like Hot Toddy’s nu-disco grooves, Patrice Baumels dancefloor energy and drive, Jon Hopkins chilled flavours, Matadors epicness, and Renato Cohens dirtiness. There’s so much, it’s difficult to keep up, but what a lovely problem to have!

On a personal level producing wise, it makes me really push myself to put the additional work in. If you don’t think your music can compete alongside this great music we have in abundance, then there’s no point releasing it.

You also run SMP3 Music Promo and SMP3 Music Management. Can you tell us about those and the other things you are involved with? How would you describe a typical working day (or night)?

Its music all day and every day for me. I run SMP3 Music promo – i work with 40+ labels, and new ones starting weekly, getting the music they release to handpicked DJ’s that are suited t the music for that specific release. It’s a skill I learnt working in record shops. The personal touch, it makes a lot of difference to the DJ, who is more likely to react to a promo if they know I only send them suitable music… and so better for the label, as this gets them better DJ feedback. I work with Sudbeat, Selador, Hope/Soundgarden, Replug, babiczstyle for the melodic vibes… Oscillate, Frau Blau, New Violence and Yousefs Carioca for the deeper stuff and a whole stack more.

I also use my same trainspotter / record shop skills in another part of my job – I am a music sourcer for Sasha, Dave Seaman, Behrouz and Sander Kleinenberg, where I basically find them music to play each week. I sold them all music when I worked in 3 Beat – so it’s basically the digital version of that. I listen to promos, chase labels for exclusives and buy at Beatport plus vinyl at 3B records to find the freshest new music for these guys. I’m not picking what they are playing – I am just filtering down the best new music weekly, much ion the same way I gave them a stack of vinyl to check each week when I was in 3 Beat.

Then I have my weekly radio show on Bliss Radio called ‘The Factory’, so i spend time putting that together, and it’s something that I Love doing. I love live radio. I love chatting about music and mixing live, I have always found it very exciting. Maybe when I finally grow up, it’s what I’d like to do all day every day, a full time radio DJ… but obviously I’d want 100% free range of the music I played!

And then I do all of the Selador stuff – Dave and I don’t have rolls as such, we each do a bit of everything. We are both busy doing other things alongside the label, so we seem to know when the other one is manic, and run with it. We love it. We really do. Again, something I’d love to do as a full time job…

And finally. How do you see the future of Dj’ing, record promotion and the results of music streaming?

I think everybody needs to embrace technology. The vinyl only purists or people who look down on people that use CDJ’s for example are just going to fade away, times change, and if you don’t, you’re going to be left behind. If you look back through history, the invention of vinyl upset people, as radio stations thought that nobody would listen to radio if they had vinyl… people said cassettes would kill the music scene… people said mp3’s would kill the scene… and streaming again would be one step further to putting a nail in the music industries coffin, and yet here we all are, still loving what we are loving and still listening to music.
I now send promo’s in my day job, from my mac, that people can react to on their phone while offline sitting on an aeroplane, and have the tune waiting for them in their dropbox when they get to the hotel for a gig… technology is great, and yes it can be scary, but you have to embrace it.

Surely one day in the not too distant future, you’ll be able to mix on your phone in a club, streaming tracks from Beatport streaming (or wherever) over Wi-Fi/5G to your crowd, whilst also doing the visuals for the venue on the same phone, that is live streaming to other venues, while other people watch it streamed in their home, while the artist is interacting on social media with them all at the same time, whilst also sending the metadata so the artist and label get instantly paid for their music being played. It’s probably not that far away when you think about it.


Mat Playford Q&A

Welcome to Magazine Sixty Mat. Let’s begin with your new single for Awesome Soundwave: Kic 8462852. Tell us about the story behind the title and what inspired this particular fascination?

Hello, thanks for having me… well the track title came from an object in deep space that baffled scientist’s around the world , they thought they had found an Alien megastructure that was collecting solar energy, because of the light fluctuations. I found it fascinating, most of my track titles come from Celestial inspiration.

How did your relationship with Carl Cox and Christopher Coe aka Awesome Soundwave first came about?

I have only met Carl a couple of times, but he has been incredibly supportive of my music since around 2006. He’s played most of the records I’ve made on his radio show. I would love to tell you how I got the music to Carl , cos there is a story to it … but I can’t tell you as it’s a secret … and I’d get into trouble! I haven’t met Chris yet as he lives in Australia, but we’ve become friends over the last six months and he’s quite the gentleman and also a real talent in the studio. It’s been great working with them and there is more to come..

Talk us through how you produced the track, including any favourite software/ hardware you like to use?

I use protools to make music and old and new synths. I don’t use midi, I just play everything in live and chop it up. I worked with my friend Burty and have used him as a session musician, some tracks take months other a couple of days, this one seemed to be a quick process, I also have to give a close friend props on this one, I can’t say his name as you all know him but he gave me a little brief before I made the track. All the tracks come from different places in my head …. so I don’t feel like I repeat myself much.

Love the cover art. Please tell us about it?

It’s by a guy called Gustave and he lives in Holland.. it’s part of a larger picture that reveals itself in the final instalment of this project.

The space theme continues with, Solar your third album (also due on Awesome Soundwave). Tell us about some of the things which have inspired the making of the album – are there any particular influences outside of the world of electronic music too?

Well I named most of the album after a book that was written in the second century called The Almagest… it was written by a greco roman called Ptolmey. It’s the first real publication about the stars and planetary models,
deeply interesting stuff. Also there’s a link between the album title and my studio too, as it runs on Solar Energy, I have a huge amount of solar panels and I sell the Electricity back to the national grid. I’ve had this system for nine years now and I sold half my studio to afford it in 2010, I managed to buy my equipment back in three and half years, from the profits. Some people seem to think the most important element In electronic music is the kick drum, I believe it to be Electricity.

Which synthesiser could you not live without and why?

I love synths and I have an obsession with them, but I’ll have to say they are just material objects, I’d like to say I can live without materials objects..

There is an amazing picture of a beautiful table you have created for your studio. It must take pride of place. Can you tell us about the process of making it? And how does the physical act of creating something compare with making music on a computer?

The idea for that table was to build something that was at standing up high so that I was in the same position I would be when I performed… I’ve always thought it to be a bit weird how we make electronic music sitting down yet we listen to it and perform it standing up… I’m sure there is something in there… with energy flows. The tree came down in a storm in 2015 my friend mentioned it to me and I was like I’ll take it. We chopped it up and I was left with a huge lump of wood with the bark still on it, I had to let the tree dry before I treated it, that actually took me two years as I wanted to do it naturally instead of in a kiln. Then it took three months worth of sanding and varnishing… in some ways the table is quite ugly as it is rather odd, I think all creativity is kinda the same, you just have to make every element to the best of your vision.

What are your feelings on nostalgia in music? And what are the most important elements that signify music when becomes timeless – Can you name a piece of music (of any genre) that for you is?

I think nostalgia is personal to you and you alone, time and places spring to mind – even people that are not into music still have association when they hear a certain track. I think it’s what was happening in their life at the time that is evoked through music. I’ve got too many influences like that to mention and they start at around five years old and still coming… before I was old enough to go to school my mum owned an Aerobics Centre . My mum made me go record shopping to Woolworths to collect music to play to the ladies and men whilst they worked out. I remember hearing Marshall Jefferson – Move Your Body on a compilation….propa wtf moment…..

And finally. Where can people get to hear you DJ next? Can you also tell us about the experience of putting the live show together?

I’ll be performing the album live this summer and a tour soon to be confirmed.


Prime Direct Distribution Q&A

Welcome to Magazine Sixty, Spencer. Let’s start with the forthcoming Record Store Day on April 13. You have an incredible 35 releases due out. Can you give us an idea of the amount of work which has gone into making that actually possible?

Overall, we started work on this straight after RSD last year with some of the titles spanning years of negotiations to land. A lot depends on trust and building relationships with labels and license holders. The start point is drawing up a target list of records we would like to release for RSD, and then it can be a long process to get agreements in place. Once finalised, they are submitted to RSD and at that point, they are sent off to manufacture. From December I myself worked solely on RSD releases for 2 months making sure all titles were pressed in time and I’d like to think it ran smoothly this year…we’re getting quite good at this!

I have to add while some people are supercilious toward RSD I can’t see the problem with getting people together at record stores across the land under the banner of music…and I remember the bad old days of stores closing by the tens (and twelves), so remember fully how and why this day came about and why it should be so cherished.

The releases span everything from Jazz-Funk to Disco to Acid House featuring both new and re-issued music. Can you tell us about some of your favourites and about the process of how you go about re-releasing older music?

Yes, I think it’s our widest year with regard to genres covered, good music is good music so we wanted to show as much as we could. From 50-year-old crooner, easy listening jazz via The Peddlers, “on a clear day”, to a brand-new EP from Detroit’s own Norm Talley on Landed Records, we covered many bases. Most releases are via deals with ongoing partners where we aim to dig a little deeper on some re-issues while others are linked to formats…the surprise fact that Teddy Pendergrass’s “You can hide from yourself” has never officially been released on 12” before being a standout example for why something NEEDS to come out! The Garfield Fleming 12” is a personal fave and something that I’ve worked on for a long long time…I’m very pleased to be the one to get that back out there for a new generation to love all over again.

There’s an obvious question of nostalgia here. What would you say is the difference between musical history and nostalgia. And do you think either are ever more important than the here and now?

This question follows on from the last really; regarding re-issues, its primarily about bringing classic and not so classic sounds from yesteryear and bringing them back for generations that missed it last time and don’t have the funds to dip into the “antique roadshow” realms of £50 to £200 for a piece of vinyl. It should be “music for all” shouldn’t it? The extra bonus is that this way the artist gets paid for their work from yesteryear.

At Prime you distribute both Vinyl and CD. What would your advice be to someone planning on setting up a record label releasing vinyl, and what do you see the advantages being?

The obvious advantages on Vinyl is the kudos this brings a label, and not just with the deep collectors. To get the music out on a physical format, especially for a new label is not a light under taking. It requires investment of both time and money, and often it takes a while for the label to gain sufficient traction to get the attention of the key buyers to support the release. For labels who are able to reach that point, they then leave their calling cards in shops and web stores across the world. They can also directly service their fans with physical product, so labels who can sustain a physical presence get an advantage over digital only releases on a few different levels.

I’d like to think we’re the good guys so absolutely approachable, we listen to everything we’re sent, and even if we don’t believe we can help a label, we’ll always aim to give them advice. I think that’s our success so far and always will be…plus we’re just about to turn 16 so no need to have that sneaky fag behind the bike-sheds, we can puff out our chests, being proud of what we do.

How is the CD marketplace and how do you see the future of CD, along with other formats?

CD within our scene has shrunk enormously and now only selected labels have success with this format. For us the main labels that have a brand presence with a club, event or tour, only really see CD as a viable proposition. There are still ways that it can be worthwhile, but a lot depends on the units that are being pressed but generally it is now becoming a fairly niche format within the music we cover as a whole.

What are your views on music streaming and how the artists get paid as a result?

Streaming is a contentious one, but for me its absolutely down to who you are as a label or an artist. We have labels that do very well financially and many many labels that use Spotify and alike correctly to widen their reach and exposure. We also have labels that earn very very little from it and others that chose to ignore it altogether.

We’ve seen huge, playlisted tracks explode and streaming is a vital cog in that happening.

Can you tell us about your own background, how you got into music and who the most important artists for you?

I started record collecting at 9 (The Specials/The Specials LP, bought on the Record stall at Deptford Market 1979!), by my teens I was into Reggae, Hip Hop then that thing called House and became a DJ (when it was for nerds only), which turned to be a fair to middling success. Then, in my 20’s began working in the music industry so I can’t really remember when I wasn’t into music. The “career” happened once DJ’ing took off in the early 90’s so a needed a job that suited my passion hence an entry level position in a rather big distribution company and it kind of grew…now I’m proud to work with the greatest team at Prime that I’d call friends. We’ve a combined 250+ years industry experience which must put us at some kind of Yoda level. 10’000 hours you say? Pffft!…can you imagine the opinions flying around the room when we’re having a label management/sales talk?

With 500+ labels at Prime I’d never be able to pick an artist, its just impossible, but I am as enthused with Prime signing a new label from young talents starting out as I am licensing an absolute classic from back in the day.

And finally. Tell us about your plans for the future of Prime Direct Distribution?

New accounts are continuing to open up in weird and wonderful locations in what has been for a while, a thriving scene. We are always looking to widen our coverage, and to keep our offerings interesting for those stores. The re-issue and edits scene are both strong, and we are drawing the two together, with official re-edits of classic tracks. We are also very focused on new material, and breaking new artists and labels, as this will always be what drives the industry forward, that constant pushing of new boundaries, discovering new sounds. We mix the old and the new, be that in terms of the music we put out, or the formats they are available on. People all have different preferences on what they like as well as how they consume music, our aim is to offer labels and stores as much choice as possible. And to keep finding the treasure for tomorrow’s diggers and headsy club-folk alike.


Per Hammar Q&A

Welcome to Magazine Sixty, Per Hammar. Let’s begin with your new single due out on INFUSE: Conscious EP which you have co-produced alongside Rossko. Tell us about how you got introduced to each other and how have you found the experience of co-producing, as opposed working as a solo artist?

Hey! It actually all started with a high five in the booth at Watergate here in Berlin. I was supposed to play the closing set, and was ready to take over from Ross when he drops a track from me and Edvin Wikner,”Lindström”.

We hadn’t met before, and I thought he played the track since I was there, but he hadn’t seen me. So I was like “Nice one! high five” And he responded High five!”Who are you by the way?!” The day after we had coffee and then we produced for one year.

Since I’ve started to make music by myself over a decade ago, I’ve only done a few collaborations. I need the space to be able to try stuff and do weird things without explaining why. Also I need to feel relaxed. Not many producers can give me this, but Ross is definitely one of them.

Conscious EP pre-order/ buy Link:

The first track on the EP: Unconscious is a brilliant combination of sights, sound and voices. Can you talk us through how the piece was created, including the more unconventional pieces of software/ hardware you used in the production?

A funny thing with this track is that it was actually the first track we ever started together. Even if it kinda came together smoothly, it did take at least 15 sessions. We had 3-4 different drafts that we played during the weekends for research. We just started jamming in my studio with my usual suspects: The eurorack, x0xb0x, Yamaha DX-27 and tons of Roland RE-301. For all the little blips and glitches we used a Форманта УДС, a Ukrainian drum machine from the 80’s USSR. During one of our lunch breaks we found a cassette with hypnosis exercises in a box of trash on the sidewalk, Neukölln style. Back in the studio we recorded it and used it as a vocal in the track.

You recently celebrated your eight year anniversary of Kiloton in Malmö, Sweden (the club who co-run with Kajsa Lindström). Eight years is a long time these days. What do you put the success of the night down to, and what do you feel can be offered by regular nights that one-off festivals cannot?

At the night during our first birthday party I remember one of the owners of the venue telling me”Thanks for a great year! Let’s aim for one more, yeah?” Indicating that it would be cool, but let’s see how it goes. Suddenly we’re here 8 years later. I think the most important ingredient is to work with real people that you can communicate with. Someone needs to be the party pooper that sometimes say no to things due to financial reasons, and you need someone that says yes to things so you don’t ending up in a loop of planning.

Malmö is a small city with a very tight scene. If you’re true to the crowd, they will be true back.

You are originally from Sweden and now live in Berlin. How would you describe the two cities and what has living in each taught you?

That’s a really interesting question. I questioned it myself a lot while living in Malmö. Compared to other cities around the world with around 300.000 citizens, Malmö has an outstanding scene. We have a few artists heading from here. Minilogue/Sebastian Mullaert, DJ Seinfeld, Kontra Musik and Patrick Siech to name a few. When I moved there in 2007 until a few years ago the electronic scene was thriving. There was underground parties driven by enthusiastic people pretty much in the city center. You could go out and see big international DJ’s Fridays and Saturdays on a wide selection of clubs. On top of that we had a quite big punk scene, squatting houses where they threw techno parties. The whole scene was, and still is, intimate and very friendly. Something really special actually. The pulse of the community gave me the energy to keep on doing what I wanted. And for many years I didn’t wanna be anywhere else.

Which is not a completely common thought, when most people working with something cultural in Sweden move to Stockholm. Things changes and so did Malmö, and I felt I wanted more of the belonging to the scene. Then Berlin was the obvious choice. It’s the completely opposite of the friendly scene in Malmö, but on the other hand I met so many new friends and created so much more music than I ever did before.

Your music has a very free-flowing, almost improvisational quality to it. You are your main influences both within and outside of electronic music – any particular writers, poets, painters or musicians?

It’s nice to hear that you notice that. I used to be inspired by music within the electronic dance music genre. But more and more I’m enjoying to start with a completely clean slate. Wake up in the morning and hit the coffee maker. Do a quick beat and jam on the euro rack and dub things through my tape delays and spring reverbs. I often ending up doing takes that are 2, 3, 4 minutes long. Maybe it only loops once or twice during the whole track. It’s actually a bit contradictory since loopy, distinct stuff is what matters on the floor. But this is just how I do, I guess.

But I can’t hide that I’m very influenced by the scrappy stripped sound of older dub cuts. The simplicity and rawness of stripping everything down to just the beat, and let the musical parts just come in once in a while drowned in space echoes, phasers and reverbs. Just on and on and on. No hooks no nothing. It’s like meditation, you know.

You run two record labels: Dirty Hands and 10YEARS. Tell us about what for you the positive and minus factors of doing so are in 2019?

My labels gives me the security of being able to do exactly what I want. The minus is that if I do exactly what I want, there’s no filter between my brain and the rest of the world.

To make sure to stand out of the ocean of new labels during past years, one trick was to give your music out on vinyl to show that at least someone believe in the music on the record. When everyone adapt to that concept, the vinyl sales drops of course. Despite that, 10YEARS will remain as an outpost for mine and Maya’s (Parallax Deep) more minimal sounding productions, which fits good for the vinyl format in my opinion. Dirty Hands works more like an umbrella for all my creative ideas. Besides the vinyl’s I’ll keep on doing label parties, mix tape cassettes, clothes and stuff. There is no limitation really.

Talk us through a typical working day (or night) in your studio. How has the space evolved, and do you have one keyboard or instrument which you couldn’t live without?

I like to hit the studio as early as possible. My productivity window is between 10:00 and 14:00. I often work in bursts of a few hours. Long sessions and tired ears is not for me. I have a few things that I literally can’t be without. The Roland RE-301, Fender spring reverbs and my tape recorders for example. My two cases of euro rack modules would also be hard to live without these days.

What does DJ’ing mean for you? What do you seek to convey to people when you play?

I’m not trying to say something with the music I play in my DJ sets. It’s instrumental rhythms with a bass on it. It’s made for dancing. And if it trigger a feeling in someone on the floor, it’s something personal I think. Everyone has their own angle to the music, and I think it’s nice to leave it like that. It’s not complex art or something.

To me it’s a pleasure to work around people that just want to let go of everyday life for a minute and just enjoy. And it’s a huge honor to be able to play my own productions and get feedback in return from the crowd that I can use in the studio.

And finally. Tell us about your forthcoming plans for the future?

2019 is busy! First up is mine and Rossko’s”Conscious EP”, which drops on Infuse March 29th. Three tracker 12”.

In April, me and Malin Génie will drop the first EP in our new collaboration series,”Scania EP” on Malin Génie Music. Our next record will drop later this summer.

Later in the spring there will be a new 10YEARS record, 10YEARS12. It’s a 12” split with me and Parallax Deep called “Trim/External”.

After that I’ll drop a track called Short Waves on the London label Planetary Notions, a 12” V/A in May.

The a V/A track with Malin Génie on Berg Audio in June.

And finally there will be new Dirty Hands record. This time from Edvin Wikner and his track,”Skritt”. Comes with a remix from me and Rowlanz. More info about that soon!

Keep up with Per Hammar on Facebook, Soundcloud and Resident Advisor

Rossko & Per Hammar’s Conscious EP is out 29/03 via Infuse


Pedro Q&A

Artwork: Beatriz Lacerda / Sara Polja

Welcome to Magazine Sixty, Pedro. It felt like a breath of fresh air today listening to your excellent new single: She Is EP (Wolf Music Recordings). Tell us about how your relationship with the record label first came about and how they have supported you with this second release?

I first met the WOLF guys when trying to find a record label to release my last record – Pedro & Jenna Camille, This is What I am Going Through EP. I met Sharon at Shine PR, she liked my record and passed it down to WOLF. I guess this second record just came as a natural progression from there.

I was wondering who the ‘She’ referred to in the title was?

“She is” is the centerpiece of the record. I made it in the summer of 2016, before the Jenna Camille record, at a time when I was just playing with things that came naturally to me. I guess the concept of ‘She’ varies with time and place, so I can’t really give you a precise answer. 
I remember that particular summer was quite harsh, because as I was making music everyday and continually trying to push my boundaries. The sample popped off “she is true” and I just went with it.

You are originally from Porto, Portugal and have recently moved to Barcelona. What do the two cities mean to you and how does each reflect on you musically?

I moved to Barcelona to pursue my Masters in Sound and Music Computing, but while doing it I found something that I was missing in Porto. I found a community of people that look at music the same way as I do. People like Damián Botigué aka Karmasound (@damienbotigue), Abu Sou (@canelaensurco), Ivy (@ivybarkakati), Hector Rubbio (@surco__) and the people at Discos Paradiso (@discosparadiso) really welcomed me into the city.

How would you best describe the word, Jazz? And what is about it that makes it so special for you?

I wouldn’t dare try to describe it but guitarist Bill Frisell said something that resonates with me: “Jazz is not so much a style as a way of thinking, a process of transforming what’s around you”

Tell us about how your label Hear, Sense and Feel was set-up and your plans for it?

Hear, Sense and Feel was set up to release my most personal records: for and with the people around me. I haven’t pressed more than 50 copies and the artwork is always done by my friend Sara Polja. The first 7″ – B – was a compilation of tracks that I made for someone very special and the next release is a single-sided 10″ that I made with Damián Boutigué.

Please talk us through how, She Is was produced? Can you tell us about your studio set-up and how you like to approach creating music?

That summer was pretty special as I was exploring the boundaries between playing and sampling. Part of the song is played (piano and guitar) and the rest is sampled (drums and horns). I sequenced everything with my mpc2000xl and ran every track into the mixing desk. I improvised an arrangement and that was it.

The set up is constantly changing as I adapt it according to the music I want to create, but right now I am writing a lot with my guitar and piano.

What is your favourite instrument? Do you own one?

I am really into acoustic guitar.

You also DJ. Tell us about how you first got into that and where can people hear you play?

I started djing after releasing my first record back in 2015.I really enjoy sharing the records that make me excited about creating.
Since arriving in Barcelona I played a couple of parties and did some radio shows.

And finally. What does the rest of 2019 hold in store?

I am looking forward to release the 10’ on HSF and I am also finishing some tracks for a future EP.Besides that I have tracks in 2 different compilations from Portugal: Discos Paraiso and Toolicreme.



Tomasz Guiddo Q&A

photo by KEYI Studio

Let’s start with your journey through being born in Warsaw, having then lived in Berlin, and you are now based in based in Shenzhen, China. That’s quite a distance covered. What’s the story behind your travels and how does life compare now to having lived in Europe?

I moved to Berlin when I was only 2 years old and it feels like one of the most important events in my life that influenced my taste and aroused the need for traveling. So I feel really thankful to my parents for this. We returned to Warsaw at the beginning of my primary school times, but I would travel back and forth between the two cities until about 20 years later when I decided to move back to Berlin on my own. All my life I was thinking of relocating somewhere south, to live by the ocean, you know, someplace warm, but I felt like moving back to Berlin was something I had to do first to complete this past experience.

Meanwhile, in the 20 years since, Berlin has become one of the most important and vibrant cities for electronic music. This was a very convenient excuse to relocate and further develop my musical career.

At the same time I was still dreaming of living in a much warmer place, away from winter and maybe that’s why I liked Shenzhen and Hong Kong on the spot. Those two cities were the first places I have visited in Asia when I attended ChoP experimental music festival in 2013. I met great, friendly and like-minded people and felt at home immediately. I moved to Shenzhen in 2014. I wasn’t sure how long I would stay here. It was supposed to be temporary, 2 years maybe. Almost 5 years have passed now and I’m still here…

Your first release of 2019 is with Nirosta Steel – Go Back on Compost Disco. Talk us through how the track was created and produced, including any favourite items of software/ hardware you like to use?

I first met Steven (Nirosta Steel) in Hong Kong at the empty Premium Sofa Club one afternoon when I came there for a meeting with Johnny Hiller, who then introduced us. I was always a huge fan of Arthur Russell so meeting someone who was so close to him felt really special. Steven was touring Asia with his project “Arthur’s Landing” where he performs cover versions of Russell’s songs with local musicians. I helped him to quickly form a band in Shenzhen and invited him to perform at my Lavo jazz bar. The concert was fantastic and we have stayed in touch since then. A year later we have organized a little Arthur Russell lecture and music workshop in the first location of Vinylhouse recordstore. Vinylhouse was really tiny at that time, just a section inside a small indie fashion boutique. People who came to listen to Steven, were just sitting on the floor on pillows, close to each other and around him as he was telling stories of Arthur and the old bohemian New York scene, singing and playing his acoustic guitar, all unplugged. After that I invited him to my studio to jam. I loaded one of my unfinished grooves in Ableton, Steven grabbed my Dongguan-made Telecaster 1963 replica and recorded some rhythm guitar takes. He asked me to show him where to press the “record” button and asked me to leave him alone in the room for a few minutes. He said “I will surprise you”. I’ve set the microphones and everything and left him there for about 20mins until he came out saying “OK, it’s ready, you’re the cook now”.

I checked to the recording after he left my apartment.

Sometime later after the arrangement and basic mix was ready I invited Huiming Li to record the bamboo flute. I met Huiming back in 2013 at the ChoP festival. I remember I was really impressed with his solo performance at Mist House Art Gallery on top of the Wutong Mountain. Huiming was just about to leave China, so we had to rush with the recording. It was really the last chance to have him in the studio before he left to Canada.

The last ingredient that added that jazzy feel to the song was Arnold Boesack’s improvised, very random takes, played on my Juno-DS61. Arnold played with Steven at Lavo before so he was very happy to join this project.

The making of this song was spread in time but done very quickly basically, with a very limited set up that I had here at home: Microkorg XL, Yamaha Reface CP (with it’s incredible build in tape delay effect!), Juno-DS61, Telecaster 1963 replica, Fender Pawn Shop Offset Special, Jazz Bass 1975 and a Shure sm7b microphone. All mixed “in the box” with Ableton Live and a few Waves plug-ins: CLA Bass, CLA Vocals, Kramer Tape. Oh, and the Boss RE-20 Space Echo pedal used for some feedback noises. Maybe a few more things like a broken Kaossilator and percussion samples of course… Steven also shared with me a few Arthur Russell production tricks on, for example, how he would mix the vocals with the flute together. A lot of the song’s character comes from leaving some little parts raw and imperfect, not quantized, too loud or too quiet.

Tell us about one of your first musical loves Flamenco and Jazz. Who have been the most inspirational artists for you? And what are the unique qualities found in those particular styles?

photo by Franek Bernady

I grew up listening mostly to rock, flamenco and jazz. I started playing classical guitar when I was 8. Paco de Lucia was my hero. For some reason the gypsy scales felt always somehow more natural to me and easier to learn and play. You don’t really hear it in my electronic music productions, because I’m very careful not to put it in the wrong context.

I stopped performing publicly as a guitarist long time ago, still in high school. I never really performed excessively, but appeared on local TV, performed some charity events, in theatre’s, won a couple of “young talent” awards, you know. Now I don’t practice anymore, I just fool around with my Amalio Burguet flamenco guitar alone at home. It’s like meditation.

After I started playing bass, naturally my first idol was Carles Benavent (from Paco de Lucia’s band). Listening to a lot of Miles Davis, Chet Baker, Tomasz Stanko, Toshinori Kondo (who I was lucky to meet in 2009 in Warsaw), made me want to learn the trumpet. Some other jazz musicians and composers that really inspired me and from who’s records I was learning better than from any teacher, were Dizzy Gillespie – especially his album with Machito: “Afro Cuban Jazz Moods” (still one of my strict top 10 albums of all time), Lalo Schifrin, Herbie Hancock, Archie Shepp, Philip Cohran, John Zorn (particularly Masada), Bill Laswell,.. the list is long. And besides, I was listening to all different genres at the same time, to everything I could find in local stores, from classical music to techno and from punk rock to disco, a lot of reggae, trip hop, future jazz and house obviously. Sometimes it would be just a single song that would have a strong influence, like Karing Krog – The Meaning of Love, or Shirley Hamilton – Take Me Back. Or X-101 – Sonic Destroyer (laugh).

More recently, around the time I recorded “Gin ‘n’ Tears” (2013), Uku Kuut’s music (RIP <3) had a big impact on my own way of production – he’s Vision of Estonia LP felt like an enlightening to me. 

You have presented a long-standing radio programme: The Input Output Putput Show. Can you tell us about the concept behind the show, and about the types of music you play?

I can’t believe I’m still doing it (laugh). I started this weekly show back in 2005. The radio station has changed the owner and name 3 times since then. Right now it’s only online. I am pre-recording my 1 hour mixes and sending it to the HQ in Warsaw to broadcast it because I can’t rely on the internet quality to stream it live anymore. Also the 7h time different could make it difficult sometimes.

Of course I skipped or replayed a few shows during these 14 years but most of the time I was still preparing it on time every week. I had a lot of amazing guests too: Tadashi Yabe (U.F.O.), Tyree Cooper, Georg Levin, Daz-I-Kue (Bugz In The Attic), nd_baumecker, Uku Kuut, Gonno, Opolopo, Snuff Crew, And.Id, Ben Mono..

The shows are in the form of a DJ mix. I always try to play tracks that would build a story, make sense being played after another and I would still try to do some mini transitions even if the songs won’t really mix. I hardly prepare the playlists though, I improvise, I play records I just bought or rediscovered and I’m trying to quickly figure out, sometimes in panic, what I should play next while the previous song is on. There are no limits stylistically. The radio station trusts me and allows me to play anything I like and it’s a blessing. Of course, I am aware that now my radio shows are broadcasted on Wednesdays 6-7PM so I wouldn’t play like it’s a Saturday night. And in the end it’s a jazz radio station, so I want to share recordings that have a similar quality, are musically rich even if I play dance tracks.

How important is variation in music for you, can you tell us about your personal philosophy when it comes to DJ’ing and Producing?

There are so many great tracks in any genre, how could I limit myself to follow just a narrow path, it would feel like a mistake. Sure, you can perfect your skills and be an expert in just one musical style but without listening to other styles, that are so accessible right now, you are simply missing a lot. As a producer I am trying to grasp all the different musical approaches and techniques to develop my musical personality. It’s exciting and rewarding. Of course I might not have the same deep knowledge as someone who specializes in and grows up with one specific genre and its environment, but this might be just how I can add something different, new and unpredictable to it, still trying to be respectful of course. I like to collaborate with different artists from around the world for the same reasons and those unusual combinations and unexpected results are most interesting for me.

Keep up with Tomasz Guiddo on Facebook, Soundcloud and Resident Advisor

Tomasz’s ‘Go Back’ EP (featuring Nirosta Steel) is out now via Compost. Buy/ listen here


Sally Rodgers (A Man Called Adam) Q&A

Photo’s by Pricsa Lobjoy

Welcome to Magazine Sixty, Sally. Let’s begin with the exciting news of a new album from yourselves after over a decade: Farmarama. The obvious question is why has 2019 felt right to return?

We did a few live shows a couple of summers ago – we had a new way to perform the music, new machines, we started sampling our own records – it was fun but didn’t satisfy because there was no new material there. We’ve done so much musically since we last released an A Man Called Adam record, we wanted to make something that brought all these new techniques and ideas together with the good things from the past. It just took a while for us to get a whole album together.


One of the things I love most about the album is the way it plays with senses and sensibilities grooving between styles and moods. Who were the most important influences for you when creating the music?

Well I hadn’t thought of it but I guess we’ve made a lot of experimental music in the last few years – creating atmospheres for radio plays or museums or whatever. Steve attended some fairly serious improv workshops in Paris and brought that to our work. I DJ’d a lot and brought the dancefloor to the tracks. John Cage meets Eddie C?

The production sounds wonderfully rich. What would you attribute those qualities to?

We build things up then break them down, refine them then shake them up again. Right at the end you have to get the chaos back into them, they have to have energy. We’ve overproduced things in the past so all that improv and experimental ‘see what happens’ type music we’d made helped us with that. We also worked on some of the tracks with our friend Paul Smith – he’s jazzy and riffy – so for us it was a perfect trinity. Steve = bonkers art music, Sally = beats n’ rhymes, Paul = catchy riffs and jazzy licks. We’re good friends and working together is a lot of fun.

Listen/ pre-order

In broader terms how do you feel about Dance Music and culture in general? What would you say has most noticeably changed (for better or worse) since you began A Man Called Adam?

Well I feel the responsibility of being a woman in dance music more than I ever have. I’ve had little girls come to my DJ gigs with books to sign (Girls who rocked the world) or older women saying they’ve never seen a woman headline – and I feel that. My friend Lucy Williams, a brilliant young DJ, came up to me after my NYE DJ set at Outlaws and said ‘I’ve never seem a woman DJ the midnight slot on NYE before’. I mean think about it, it shouldn’t be that way – so I’m conscious of that influence and want to do right by my girls. I’m a producer, a DJ and an educator – and I want all women to feel those possibilities are there for them. And musically there is so much ace new stuff around, plus all that obscure catalogue to dig around in. It’s the best of times.

Steve Jones (A Man Called Adam) live at Disturbed, Le Mellotron, Paris 13.02.19

One of the standout tracks for me is: Spots of Time / Ladies Of Electronica/ Sally’s Ladies Rerub which blends hints of Kraftwerk, intense breakbeats and vocals, alongside a memory of Daphne Oram. Can you talk us through where the original ideas came from, how the track was created and some of the synthesizers used?

Steve was really busy doing his PhD and I was itchy to do something so I made a little EP under the experimental alias we’ve used ‘Discrete Machines’. Ladies of Electronica was on it as a little Afro-breakbeat thing but I always felt it could be better with Steve’s input. And the tiny amount of people who heard it liked that track. It’s like it wouldn’t go away. There are iPad apps, Ableton packs, live instruments, Steve’s MAX MSP patches on there – my own voice is the bass on the Rerub. Spots of Time is a live improvisation, a sonic experiment. They all segued nicely together. And it pays respect to the women who did so much for the development of electronic music. It’s a hymn.

Sally Rodgers at Brilliant Corners 02/02/19

You recently road tested music from the album live at Outlaws Yacht Club in Leeds. How did you recreate the music in a ‘live’ setting and how did the night go?

Yeah it’s cool. We set up all the kit and play the songs. They were composed and produced to sound as they would live so hopefully it sounds like the record – but with a lot more jeopardy! Outlaws is our home crew, they’re always there for us, and they give us a place to try things out.

2019 looks like an exciting year for music. What plans do you have for the year?

To re-boot the label (Other Records) and keep writing and recording and collaborating with great people. We have Prins Thomas and Carrot Green on the first remix ep and both are amazing, generous, gifted artists. Nothing but love and respect for them both – more of that please. And gigs, loads of gigs!


Freaky Dancing Q&A

Welcome to Magazine Sixty, Ste. Along with Paul Gill you started Freaky Dancing back in 1989 and it has now been republished by TQLC (an imprint of the Quietus). Tell us about the story behind how that happened?

Paul arranged the publication of the book with The Quietus, so I’m not quite sure how that actually happened. My role was more technical, preparing the book itself. Paul had been keen to get the fanzine restored and republished in some form or other for a while, and to be honest I was always a bit reluctant. To me it felt like a great memory, a lovely moment in the past, but I wasn’t sure I wanted to bring it into the present. Paul persisted and eventually convinced me it was worth doing. We were originally going to get the book out for the 25th anniversary, in 2015, but that date came and went. We were both busy with work and it was hard to find time to give the book the attention it deserved. I think hooking up with The Quietus gave us a bit of a kick up the arse to actually get it finished.

On the technical side, I had most of the original artwork, so my job was to scan and clean up every page, and design and build the book itself. There were a few missing pages that had been stolen or returned to the original artists over the years, so a few of them had to be put together from scans of the fanzine itself, but most pages were scanned from the A4 sized originals. We also wanted to do some new material, so I drew a three page comic strip, as an intro, which ended up taking me about six months to complete! Paul drew a page at the end of ever issue of me and him chatting about the contents, and reminiscing about the time.

One major issue was that we weren’t actually in touch with all the contributors. In fact, some pages were anonymously submitted, so we never knew who drew them. Also, a lot of the work was done under pseudonyms, so we had to consider how or if we needed permission from all the original contributors, IP rights, and how we would split any money the book might make. Taking everything into account, particularly the fact it wasn’t possible to contact everyone involved, and that the spirit of the magazine was to give it away where possible, we decided to stick with the pseudonyms for all the contributors, and once we’d covered the costs involved in making the book, we’d donate any money we made the the Manchester Digital Music Archive

What influenced the comic-book/ graphic style in which it was constructed? Who did the artwork and who wrote the text? What was the philosophy behind it all and how important was it for you that it was free?

Both Paul and I both wrote and drew our own comics, and had made our own fanzines and small press comics before Freaky Dancing. That’s how we met, in fact – I picked up a copy of one of his fanzines from a small press fair in Piccadilly in 1986 or so, and he picked up one of mine from the same place. We noticed each other’s’ addresses, both in Stockport, and we started writing to each other about comics and video games and music, both in our early teens, and before either of us had ever had a pint of beer, let alone been to a pub or a nightclub!

But, once we had the idea for Freaky Dancing, everything happened so fast. We didn’t really plan very much, we just spurted out whatever was going in our heads into comic strips and printed them. We both worked separately, writing and drawing our own comics, and bringing them together every week or two, to see if we had enough stuff to make a new issue with. What was really surprising, and exciting, was that our friends joined in. Friends who weren’t especially into comics, or who weren’t writers or artists. They just caught the same wave of excitement and enthusiasm that gripped us, and threw their own pages into the pot. Some of the early issues were literally put together between 5pm and 7pm on the Friday night they came out, with people turning up to my office after work, handing in pages they’d drawn, while Paul and I would arrange them into some kind of order. Then we’d start the photocopier running at about 7pm, to get 100 or so copies ready to hand out next door by 9pm.

Giving the magazine out for free felt massively important at the beginning. It was almost the main idea behind Freaky Dancing – giving something back to the people around us. Over time that idea receded and covering costs and becoming self-sustaining became our goal. If we’d carried on, we’d probably have wanted to turn it into a money making business. I guess this is a natural trajectory, and perhaps it was for the best that it never went that far.

Why was the Hacienda and Friday’s Nude night in particular, as opposed to the other nights, such an important place for you at that time?

I feel a bit reluctant to mention the drugs, but you can’t get away from the drugs. We all started taking ecstasy together – and by ‘we’, I don’t just mean our friends, but I mean everyone in The Hacienda on a Friday night – and it was incredible. I’d been going out for years in Manchester already. Generally indie nights at The Venue, Boardwalk, The Ritz and places like that, and The Hacienda sometimes on Wednesdays and Thursdays. Clubbing was ‘alright’, and I enjoyed it, but suddenly in 1989 (for me – I know it was earlier for some), it was like I’d been woken from my sleep, and going out on a Friday became a mystical experience. It felt IMPORTANT. Once I’d been grabbed by the place, then I started to appreciate just how bloody good the music was as well, and I think the music has stayed with me more than anything else.

Graeme Park & Mike Pickering live at The Hacienda ~ August 1989 (3 hour set)

You poked fun at Boys Own and London culture. Did it feel like there was a North/ South divide – what made the North better?

Haha, yeah, I think everyone in Manchester feels that north / south divide thing, don’t they? We used to read NME, and once the acid house thing started up, you’d read these articles where they’d send a journalist up to Manchester and they’d just be talking about a couple of indie bands and a few gigs, and not mention the house music that was in the air in Manchester, that was everywhere, they’d not mention acid house at all, and it seemed bizarre. They might be covering The Stone Roses in the article, but The Stone Roses would be dancing to acid house in The Hacienda that week, and that influence wasn’t being mentioned in the music press at all, or only in the most condescending ways, it seemed bizarre.

We did have a bit of a sneering attitude to London and the south, but on reflection I think that was a bit silly, and I can’t really defend it now. I think partly it might have been that we just didn’t get much coverage or recognition, as the main magazines were based in London, but I dunno.

Obviously the city gained a reputation (as did the club) for violence and gang activity around doors and the supply of drugs. What are feelings about that, both at the time and now, in relation to the Hacienda?

I guess it was inevitable. There’s a neat parallel with the effect of the drugs themselves. You start off with a euphoric burst of energy, and everything is amazing, then eventually you feel strung out and stretched too far, followed by twitchiness, paranoia and a feeling of doom. That trip played out over the life of the magazine, and over the course of a few years in Manchester’s club scene as well.

I don’t think nightclubs work as long-standing institutions, and the Hacienda not being around now is probably for the best. Let younger generations build their own legends, without any baggage from the past.

What for you were the original ideals (socially and/or politically) of Acid House? And how do you feel about the way in which DJ culture and Clubs themselves have evolved and changed into more of a business model?

It felt like we were at the dawn of something special in 1989. A whole generation (or so it seemed) full of optimism and effortlessly removing the barriers and the differences between us all. It felt like more than just hedonism, but only in the vaguest, non-specific ways. I guess that’s kind of evaporated since. Maybe that’s a feeling everyone has at that time of their life, no matter where you are or who you’re with? I don’t have any strong feelings about DJ culture or clubbing. I still like house music, still listen to people like Sasha, but very rarely go to nightclubs any more.

In terms of ethnicity and class. How well do you think each was represented at The Hacienda?

A few years ago I saw an acquaintance on twitter complaining about a clip he’d seen of The Hacienda, from the acid house days, saying it just looked like a bunch of straight white blokes getting off their head, and that rave culture was a load of bollocks. I can’t speak for rave culture, but The Hacienda wasn’t that at all. It felt to me like the best possible mix of people you could get in Manchester, in terms of ethnicity, class, gender, sexuality, etc. A wonderful combination of everything the city had to offer. Maybe I’m wrong, but that’s how it felt to me at the time.

Was Tony Wilson a spokesman for the generation? If so, how did you identify with him?

Tony Wilson was an odd character for anyone my age from the North West. We grew up with him as this super smarmy TV host on various news and current affairs programmes. The natural reaction for any young, cynical teenager was to hate him. Then you learn from someone at school that he’s got a record label or something, and you get an inkling that he’s not quite what he seems. You listen to what he says on those music programmes he presented a bit more closely – maybe he’s more than just a smarmy presenter? Then as you grow older you learn a bit more about Factory and The Hacienda, and the bands, and he changes in your mind into something else. Something inspiring.

I’ve been in business in creative fields a couple of times, and I can honestly say that Tony Wilson was a big inspiration in terms of how I went about things. I don’t mean writing terrible contracts on napkins, necessarily, but more in terms of wanting to make something great, something special, something that will be remembered, and getting the best out of creative people you’re working with.

From the time of Freaky Dancing could you name a couple of tracks which signified everything the magazine was about?

Ralphi Rosario – You Used To Hold Me. I think that was my first, stand out memory on the dancefloor, seeing the crowd reacting, the way everyone in the place knew the tunes, it was wonderful.
Kid n Play – 2 Hype (that UK mix, not sure the proper name of it). My second dancefloor memory. The way the whole place would just freeze when that intro started.
Stakker – Humanoid. Just incredible. Still sounds awesome today.

Why did you stop producing Freaky Dancing? And would you be tempted to do it again?

Mainly we were just knackered. We’d put out 11 issues in not much more than a year, while also holding down fairly high pressure full time jobs, and being in a band. The magazine was actually starting to get really good by the end, so I can’t actually remember exactly why we stopped. I think the energy from the scene itself, that had been propelling us, had dissipated, and we didn’t have enough energy ourselves to keep it going without that wave behind us.

I’d publish comics again, and give them away, but I don’t think I could do anything at the speed we managed back then.

Tell us about what you and Paul are up to these days. And what would you say you taken from those experiences which has informed your life now?

I still design and make video games, now as an indie, working with my brother as The Pickford Bros. Our last game was nominated for a BAFTA, but made no money. We also do a comic together, Plok, featuring the star of one of our SNES games from the 1990s.

I think I’ve still got, and always had, the do-it-yourself ethic that led to us making a fanzine, and that’s reflected in the games and comics I’ve made since then. And I honestly thing the acid and the ecstasy have made me a better person.

The Quietus Presents The Freaky Dancing Book Launch at The Soup Kitchen, Manchester on Saturday March 2.


Intro_p Q&A

Welcome to Magazine Sixty, Intro_p. Let’s start with your label: Introp Music. Tell us the types of music you seek to champion through it. And what are the most important musical elements that determine which tracks you sign?

Thank you for your invitation. My motivation with Introp Music is to offer people a balanced concept of dance music and other genres besides the club scene. I am especially interested in unconventional dance music, inspiring imagination, evoking emotions and suitable for different situations or even audiences. For this purpose, I combine in my productions dance music patterns with different melodic and harmonic elements in an intuitive way, sometimes leaving rules or formulas behind.

Your next release sees you return to Introp Music with the stunning: Trieb. Can you talk us through how you produced the track and which favourite pieces of hardware/ software you used?

One of my challenges is trying not to repeat myself and to imprint my current state of mind in my productions. “Trieb” EP shows clubbier sounds than my debut “Exposure”. In ‘Trieb’ I’ve moved from my basic workflow. I split the work in 2 parallel projects, one for drum & FX elements and the other one for more musical instruments. I don´t know if this is good or a bad idea in general terms, but the experiment worked here. My target was to get a closer perspective of both kinds of elements for decision making. A part from Minimoog and Walldorf Streichfett, most elements have been processed in the box. I love using Ableton, Max for Live, Maschine, Komplete, Kontakt, U-he and other 3rd party plugins for sound design experimentation.

The release also contains an Ambient Mix. What is it in particular about ambience that appeals to you?

I would not say that the Ambient mix really fits with the Ambient genre. But surely there are common elements in it, like those diving atmospheres. I like Ambient music because it invites me to reflect and pay more attention to my inner voice. I think this kind of music can help people to be less materialistic.

Your music has a distinctly original flavour to it. Which artists have most influenced your sound?

I thank my parents for having a great music collection. As an only child I grew up with a turntable and thousands of records. At the age of 18 I had my own collection constantly growing. Therefore it´s not easy to name my early influences. There are plenty of bands and genres from the 60s until nowadays that I really love. For sure I started into dj’ing in 1995 because of my fascination for Jeff Mills, Laurent Garnier and Richie Hawtin. They brought me to go to clubs and pay attention to the music as it was a concert. Some of my friends started to be annoyed of me (lough). Other artists that might have influenced my sound are Kraftwerk, Klaus Schulze, Jon Fox, Ultravox, Simple Minds, The Church, Stranglers, King Crimson, Can, Gong, Sly & Robbie, Soft Machine, Devo, Depeche Mode, Autechre, Boards of Canada, Four Tet, Bonobo, Trentemoeller, David August, Max Cooper, etc. etc.

Which artists, painters, writers etc outside of music have also inspired you?

I am not an expert in any kind of art, but as a fan of cinema I would highlight artists like Darren Aronofsky, Lars von Trier, Xavier Dolan etc. In my personal opinion, the most important elements of art are emotions and message. Therefore authenticity is the key.

How would you say the move from Malága to Cologne has influenced what you do, both in terms of work and play?

I came to Germany in 2005 to work as an engineer, learn the German language and gather experience abroad. During these years I realized that I don´t want to belong to any industrial corporation. I am not interested in power or career. My priority is to do something with passion, having the possibility to learn my whole life and inspire other people to do the right thing for themselves.

How do you feel club culture has changed since you first started? And how would you like to see it evolve from here

In my opinion the club scene has grown a lot. There are much more artists than before and the new technologies allow us to search and play music more easily, and to get in contact with other artists or with the audience. This democratization of the music can be something good. On the other side, I think it is more difficult to make and promote alternative music today because everyone is exposed to a large amount of distractions and information. For the future, I would like to see more projects dedicated to the search and support of upcoming and underground artists.

And finally. Tell us about any forthcoming plans for 2019?

2019 is the year of my birth as a full time music producer. My plan is to enjoy my first steps out of my comfort zones by doing what inspired me the most during my life: music. Definitely there will be more releases in 2019.


Nate Young Q&A

Photo by Alivia Zivich ©2018

Welcome to Magazine Sixty, Nate. Let’s start with your new album: Volume One: Dilemmas of Identity. Can you tell us about the meaning behind the title and the story about how the music found its way onto this album?

Dilemmas of Identity consists of a lot of compulsively made jams. These jams helped me chill and forget about my personal problems for a moment…so I could laugh. After the loss of my brother in 2015, I found myself suffering from severe grief and depression. I was struggling to see the point of being an artist, struggling to see the point of my career, ironically, I found myself retreating into my music more than ever. The distraction helped me cope with my grief and I found myself furiously making music. Many of the songs are ridiculous and out of character for me, but these songs help me remember the growth that can come from loss.


You have recently done a series of live shows as both Wolf Eyes and as a solo artist. How did you transfer the music from studio recordings to playing it live? Can you tell us about the instruments you use and what performing music in a live setting means for you as opposed to recorded sound?

I have always been interested in making use of whatever is around me. When I started making music and instruments it was out of necessity. I am an uneducated, unemployed, bohemian-esque stoner, raised by free thinking LSD crazed hippies in the Ozarks via Michigan. When I approach sound, I try to take all of this into account. I do not have a master’s degree in music or any formal education. I am not a record collector either, my music influences and ideas come from my weird experiences. And like a lot of artists I just feel around in the dark until I find the light switch.

What words best describe the emotions and atmospheres you seek to achieve with your music?

I’ve been drugged and lost in this week/I took a day to break for each blink

What was your first introduction to electronic sound? And who are your biggest influences?

I got my start with electronics in my late teens. The first thing I made/modified was a payphone speed dialler. This was sold in the 80’s-90’s as a speed dialler for land lines. If you replaced a component inside it (I think it was a crystal diode) you could hold it up to the telephone receiver and make free phone calls. It would make the same tone as a quarter being inserted into the coin slot. I booked my first tour with this. Since the late 90’s the phone companies caught on and it stopped working. I remember the operator would come on and yell at me saying the cops were on the way. HA! Funny stuff. Around this time I started making music with friends and bought a guitar. It got stepped on in the first week. Instead of getting it fixed I removed the pick-ups and attached them to some bed springs and an ironing board. Under the ironing board I attached a metal detector. This was my first electronic instrument. Sort of sounded like an oscillator with an envelope follower. It’s funny to think about this now because ever since then percussive whines have been a fixture in my work. Booommmmm weeeeeeee Booommmmm weeeeee

Tell us about the concept behind Trip Metal Fest and your plans for it?

Trip Metal aims to capitalize on confusion as a means of connection rather than a threat to authenticity. The fest was a way for us to continue supporting people we admire. We plan to give away all our money to artists and tickets cost nothing. Trip Metal is free.

The Wolf Eyes website also displays a collection of sound and artworks. Can you tell us about those and what the paintings represent for you?

Painting is the same thing as playing music to me. We have always made images to go with our sound. We have close to 300 different record and tape covers. This new “painting with unique audio composition” is really just a release that’s limited to 1 of 1. The image influences the sound and the sound influences the image.

Talk us through how you conceived of and then produced the albums opening track: ‘In The Shadow Of’?

This song was originally made to accompany a film called Naves Ena (from 1971) The film is about a group of fishermen who are set adrift on an iceberg facing death from hunger and exposure. This was a commission for a music festival in Riga, Latvia Skanu Mezs. I composed the track but never recorded it until years later.

Outside of the world of electronic music who do you like to read/ watch/ listen to?

I read a lot of comics, anything by Grant Morrison, Saga, Doom Patrol. I am just finishing City by Clifford D. Simak. I also read a lot of gear manuals. Watching…hmmm well the last thing that was cracking me up was People Just Do Nothing.

How do you feel about nostalgia and its place in contemporary music?

Its fine, that’s how we process what is relatable.

You setup your own label Lower Floor Music with John Olson and Warp Records. How have you found running your own label and what are the benefits in doing so?

We’ve been running our own tape labels for years. Lower Floor is a slightly bigger idea, but basically the same thing as American tapes or AA Records. We want to release more music by our friends. This year we are trying to release an Art Ensemble of Chicago live at Trip Metal Fest. So…bigger ideas are coming.