It was the 4-song EP “Ringer” in 2008 that caught my attention again. Sparse, minimal and more rooted in techno than anything else he had released before, “Ringer” seemed to signal Four Tet was moving into a different direction. Then, in 2009, Hebden collaborated with the celebrated UK producer Burial (an old high school friend), cooking up a gorgeous two-track 12” (“Moth” and “Wolf Cub”) that further proved Four Tet’s diversity. Yet, with “There Is Love In You,” Four Tet has truly broken new ground, a blissful musical journey that never seems to waver throughout all nine tracks. Though it comes off like Hebden is embracing a simpler structure, emphasizing more straightforward 4/4 techno beats, keyboards and synth washes that previous works, it’s clear the tracks are still complex and meticulously crafted the more one dives into them.

The album opens with “Angel Echoes,” a slow builder using a cut-up female vocal sample interspersed with a sprightly beat and crackly aural fractals. It’s a nice opening, setting the stage for the rest of the album, though it’s really “Love Cry” that gets the blood pumping. Eloquently layered, with an elegant slow build, creamy synths, and crisp, punchy beat, “Love Cry” is a smooth ride that just soars into the stratosphere. “Circling” opens with an enchanting harp string loop and a dull, throbbing 4/4 beat. Then, when the chimes kick in, your head feels awash with delight as the layers continue to build upon themselves, then back off and settling into a sparse groove, before the female vocal loops enter the picture and you’re swept away again. It even ends well, stopping with a sudden halt that works. “Sing” crackles with forward motion, with it’s driving 4/4 beat, choppy layers and clicks, whereas “This Unfolds” is exactly that, unfolding slowly and gracefully awash in twinkly synths and perky beat that feels like the aural equivalent of a relaxed smile on a warm, sunny day. While “Reversing” is short, subtle and tranquil, “Plastic People” punches the BPMs back up tactfully, as chirpy bleeps are interspersed with a shuffling beat and thin percussion. The final track, “She Just Likes To Fight,” actually succeeds in feeling like an album closer, combining stylish guitars with soothing keyboards and lazy beat, providing a graceful conclusion for the listener. “There Is Love In You” is the kind of album that improves the more one listens to it and just might Four Tet’s best album yet. There’s plenty of lovin’ to be had with this record. Now go get it.

By Tim Pratt

Buy album

The often otherworldly vibe begins with an ever-so-slight jarring opening via German producer Marsen Jules’ “The Sound of One Lip Kissing,” then segueing into the elegant, spacey sounds of bvdub’s “Lest You Forget,” a mishmash of echoey soundscapes, fragments of acoustic guitar loops and effervescent female vocals. Voigt’s “Zither Und Horn” is a slow, meditative tune that delicately melds acoustic instrumentation with atmospheric, high frequency tones. The Orb’s “Glen Coe” is a graceful, eloquent contribution; the lightly clanging gives way to rich layers of gooey aural goodness as if holding still in outer space. DJ Koze’s “Bodenweich” is a bit of an oddity, combining spooky vocal loops with flinty strings and sparse piano lines, making for a fairly unnerving listen. Dettinger’s return to Kompakt after nearly a decade-long hiatus with “Therefore” is a graceful, lightly clattering tune that is hopefully the first of many new tracks from the Cologne-based producer. Fehlmann’s ever-so-sparse “In The Wind” takes it time before settling in to a slow, sensuous mood, while Popnoname’s “Deutz Air” is yet another gorgeous, breathlessly layered melodic delight, setting the stage for Van Wey’s epically long album closer “Will You Know Where To Find Me.” Van Wey’s carefully sculpted layered ambient music often takes it time before the seemingly disparate audio elements begin to make sense to the listener, and this 17-minute track is no different. Yet, it’s the perfect way to end “Pop Ambient 2010,” an audio excursion best experienced in a prone position underneath a breezy, puffy cloud-filled sky.

By Tim Pratt

Buy Album

Artist - Track (Label)

1. Master C&J - Face It (Trax) Info

2. The Lower Eastside Pipes - Disorganized Corruption (Sacred Rhythm) Info

3. Ben Klock - OK (Ostgut Ton) Info

4. Ron Trent - Journeyn2u (Future Vision) Info

5. Black Coffee - Turn Me On (Gogo) Info

6. Missing Linkx - Who To Call (Philpot) Info

7. Fabrizio Ortella - Singtho (Deeply Rooted) Info

8. Satoshi Tomiie - Tears (FFRR) Info

9. Taho - Energy Fields (Delsin) Info

10. Barbara Tucker - I Get Lifted (Strictly Rhythm) Info

11. Peven Everett - I Can’t Believe I Loved Her (Nite Grooves) Info

12. Roots Orchestra - Kalabuta (Unrestricted Access) Info

13. Adonis - No Way Back (Trax) Info

Direct download: Just_Good_Music_1/29/10_-_Face_It.mp3

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1. Reagenz - Dinner With Q (Workshop) Info
Jonah Sharp and Move D’s Reagenz project released their ‘Playtime’ album in late November. It’s everything that you could want from techno - deep and melodic, pushing analogue synths to their fullest (but never going overboard) coupled with a nice amount of live instrumentation. Highly recommended.

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2. Pepe Bradock - The Path Of Most Resistance (Atavisme) Info
Pepe Bradock graces us with one of his few and far between releases. The “Path Of Most Resistance” see’s Pepe back in fine form with a track that is on par with “4″, “Life” and “Deep Burnt”. “PLAY SUPER LOUD!” indeed.
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3. Reggie Dokes - Chicago Pimp (Clone) Info
Reggie Dokes had a stellar year of releases. The “Chicago Pimp” 12″ was a fine way to kick-off Clone’s Loft Supreme Series - hipnotic, raw and jacking. Treading a similar path was the “Spectacle of Deepness” EP on We Play House as well as “Until Tomorrow” on Royal Oak. Quality music from one of Detroit’s most consistent producers.

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4. Big Strick - Black Talk (FXHE) Info
2009 was the year that Omar S finally got the wider attention that his music deserves. Omar S was responsible for 2 great EP’s, ‘Still Serious Nic’ and ‘Blown Valvetrane’. Both releases didn’t deviate too far from the raw, jacking sound that Omar S has become known for (and a sound that has seen a resurgence over the past couple of years). Omar has also shown a knack for uncovering previously unknown producers and releasing their music through his FXHE imprint - Kyle Hall, Luke Hess, Jason Fine and Jus-Ed in previous years and Big Strick this year.

5. Levon Vincent - 1000 Miles From Home (Novel Sound) Info
Levon Vincent also gained a lot of attention this year. Last years “These Games” EP on Levon’s Novel Sound imprint was a sign of things to come and this years ‘Six Figures’ EP kicked things up another level. Riding the fine line between house and techno, Levon’s deep, hypnotic sound struck a chord with many.
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6. Kassem Mosse - Untitled (Workshop) Info
Another great release from Germany’s Workshop, this time from Kassem Mosse. The dark analogue sounds and textures on both “Untitled A1″ and “Untitled B1″ remind me a lot of Robert Hood’s productions and prove how effective simple programming can be. Kassem was also responsible for this fine ambient piece.
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7. Marco Bernardi - Mystery Of Nazerus (Clone) Info
Another one from Clone who along with fellow Dutch label Rush Hour have been responsible for some of the best new releases this year (Reggie Dokes, Tevo Howard, Rondenion, Mike Dehnert) as well as re-releasing older hard-to-find material (Da Posse, Daniel Wang, Anthony Shakir, Rick Wade, Rick Wilhite). Consistent quality and impeccable taste from both of these fine labels.
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8. Nick Chacona vs Deetron - Dawn (Stilove4music) Info
Although Chicago’s Still Music and Past Due have been dormant for the past couple of years, sub-label Stilove4music is still pumping out fine records. This years highlights included releases from Rahaan, Bruce Ivery and the amazing Deetron re-working of Nick Chacona’s “Dawn”.
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9. Moody - Freeki Mutha F cker (KDJ) Info
Released in December of 2008, “Freeki” didn’t make it into my “Best Of” mixes from 2008 -  too good to not be included this year!
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10. Zomby - Tarantula (Hyperdub) Info
The always innovative Hyperdub celebrated it’s 5th anniversary - quite an achievement in today’s environment. Add to that achievement two of best albums of the decade (Burial’s self-titled and ‘Untrue’) as well as a roster that is pushing dub-step and bass sounds into new directions - it’ll be interesting to see where Hyperdub is at when it celebrates it’s 10th anniversary.
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11. EQD - EQD B (EQD) Info
Another release that didn’t quite make it into last years ‘Best Of’ mixes and again way too good to not be included. Rene Pawlowitz’s EQD moniker combines the best of Detroit, German and English techno influences and creates a truly unique sound. EQD #3 has just been released and again it’s an absolute must have record.

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Direct download: Just_Good_Music_12_29_09_-_Best_Of_2009_Pt.2.mp3

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2. Cottam - Cottam#2 (Cottam) Info

3. Rainer Trueby - Ayres Rock (White) Info

4. Chez Damier - Why (Mojuba) Info

5. Lawrence - Jill (Mule) Info

Direct download: Just_Good_Music_12_16_09_-_Best_Of_2009.mp3

Direct download: Just_Good_Music_11_17_09_-_Aint_It_Time.mp3

Q: What was your first exposure to disco & house and what were some of the first tracks that blew you away?

A: I’m quite sure I was exposed to disco in my childhood, in the late 70’s. I remember going to a laser light show with my parents in an almost-empty stadium in Taipei, and the background music was ‘The Chase’ by Giorgio Moroder. Also, around 1980, I heard ‘Upside Down’ by Diana Ross & Chic on the in-flight radio flying from Taipei to California and kept listening for 9 or 10 times. In middle school, I thought ‘Forget Me Nots’ by Patrice Rushen was the coolest song ever, and the other boys who liked rock and roll sort of teased me about this. (But, they were all into Pink Floyd ‘The Wall’, which we now know is the ultimate disco groove.)

Q: How did you get into producing music? You must of had good access to equipment during your time working at a synth repair shop?

A: I bought all my equipment from that shop ‘Dr. Sound’ in 1992, while I lived in Chicago, and then I ended up working there 4 years later after moving back to New York City. At first, producing music was just a way for me to make a statement to the DJ world. The first record was only 17 samples. But having a proper keyboard soon made me realize that I wanted to make original tracks and not just sample everything.

Q: In a recent Juan Atkins interview he said that getting a new piece of (old) equipment often lead to the creation of new tracks - you too have echoed this sentiment. Do you feel that some of the magic has been lost with software based music production techniques?

A: Absolutely yes. Software makes much more sense for people who have used all that gear in the real world and then seek to find their laptop counterparts. And still, the feeling and the interface are inferior. I feel strongly that there should be musical education on a wide level with real instruments for children in school, as well as for young music producers in all genres.

Q: I feel in certain ways that Balihu continued in the tradition of Nu Groove - releasing left-field, disco infused electronic music. What labels did you look to for inspiration and who did you view as your contemporaries at the time. How was it running a label during those years?

A: That is totally correct – I loved Nu Groove! I really liked many tracks on Strictly Rhythm and Nervous too, but their concept was already quite slick, whereas Nu Groove had a kind of raw silliness, even the graphics and colors on each release were different. I don’t see myself as having managed a real label, however. I was the only artist for the first few years, it was just me and my credit card and some photocopies for the label. It was just a way to get heard and to practice making tunes by myself.

Q: Does it ever strike you odd that a genre that you helped define has become so popular in recent years? What labels/artist do you feel are continuing in the path that you helped create?

A: No, I’m genuinely glad that I’ve contributed to people getting back into joyful, interesting, ‘real’ disco music, although I see the role that I played also only in retrospect. I mean, I was just a lone voice in the woods in 1993, it seemed like everyone else wanted stupid hard techno & tribal house music. I hardly knew 5 people who felt the way I did back then. I don’t need to name names, I think, today everyone knows Lindstrom, Todd Terje, Hercules & Love Affair, DJ’s like Horse Meat Disco and Disco Bloodbath and so on and so forth. They’re all wonderfully entertaining.

Q: You currently live in Berlin which is known as a techno city, so, how’s the disco scene there? Are there any locals who are as funky as Niagara?

A: I almost want to say, Techno is for the tourists and the working class natives (nothing wrong with that). As for the queers, the people in Mitte (artists, designers, etc), their tastes are as diverse as anyone’s in London or Paris. There are some AMAZING disco DJs here like Hunee and Emil Angelov, and plenty of people like Nd Baumecker (Berghain) who never played only techno, they have always played an eclectic and fun mix of music since the 90‘s!

Q: In what way has living in Berlin changed your view and approach to music and dj’ing?

A: It is a great relief to be outside of USA and not feel the false pressures of racial representation or political correctness. I meet plenty of Germans who enjoy soul music just because it is great music, not because it is for or against ‘black American culture’ in North America. It’s wonderful walking through German forests and fields and realizing that a Beethoven sonata or a Debussy prelude really sounds like this, it is not some construct of ‘European high culture’ which is how it is mostly presented outside of Europe. I can take my time, I’m not out to DJ to compete with or impress anyone, as it often was in NYC.

Q: The track ‘In A Golden Age’ is an homage to the Loft Classic ‘Journey’ by Powerline. Aside from ‘Timewarp’ and ‘Journey’ what are some of your other favourite Loft Classics?

A: Instead of ‘homage’, I prefer to say, I ripped off the string section because it sounded nice! Ha ha. Everyone knows those Loft Classics bootlegs, and I love almost all of them. But it is pretty hard not to.

Q: A lot of producers look back to music from the 70’s and 80’s for inspiration. Do you feel that popular music these days lacks enough substance to provide inspiration for future producers?

A: Yes, I think so. Popular music today is mostly just commercial product. It is made by musicians who are mostly NOT half as good as the sessions players of the late 70’s, and then it is over-processed digitally by engineers who don’t understand how to preserve the human nuance in the recording – they ruin it via Pro Tools, rhythm quantization, and pitch correction. In fact, there hasn‘t been much since 1987 which anyone can really look back on, is there? Are people going to cover or sample Haddway ‘What Is Love?’.

Q: How did the Rush House compilation come about and what’s lined-up for yourself and Balihu?

A: Christiaan and Antal from Rush Hour always supported Balihu even when it was quite unknown. They were always honest with accounting and supportive with selling it throughout Europe. Christiaan showed up in Berlin with his graphic designer, I said yes immediately. As for the future… I have to fix up the studio first in my new apartment in Berlin!

Buy Best Of Balihu at Beatport

Next up, Stephen Hitchell releases his 2nd album this year, this time under the ambient moniker Variant. As to be expected with Echospace releases, “The Setting Sun” is a deeply textured, engulfing listen that draws you in. All lush atmospherics and sound-scapes, the album highlight is the 23 minute long title track “The Setting Sun”, which is a truly beautiful mesmerizing piece of music that, for me, is one of Hitchell’s production highlights.

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Mojuba and it’s sub-label a.r.t.less, have in the past couple of years become labels to buy on sight, building it’s reputation through very limited initial releases of classic house re-issues, as well as building a roster of new producers such as Sven Weisemann, Nick Sole and Oracy. The label has raised the bar with it’s recent releases. Sven Weisemann’s outings on a.r.t.less (“Shove EP”) and Wandering (“Xine Zero”) are both quality, “Shove” sounding very much like some of the deeper techno from the early-90s (much like a lot of the labels other releases). Another recent highlight from Mojuba, is Chez Damier’s “Time Visions 1″ ep, which sees the re-issue of “Sometimes I Feel” and “Teach / Keep Me” (both previously on Prescription Records) as well as the previously un-released “Why”. Highly recommended.

Another producer that I’ve been enjoying recently is Kassem Mosse. His 2nd 12″ on Workshop falls in-between techno and house in feel and tempo. The sounds and textures on both “Untitled A1″ and “Untitled B1″ remind me a lot of Robert Hood’s productions. Kassem also produced a great ambient piece, which can be downloaded here. Hopefully there’ll be more ambient pieces like this to come from him.

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New York based producer FaltyDL (along with Floating Points and Joy Orbison) has been at the forefront of the recent 2-step revival. The new direction that these producers are pushing is really interesting, taking the best of 2-step, dub-step, house and techno. FaltyDL has turned out some great music so far this year, including his debut album “Love Is A Liability” on Planet Mu. If his recent Resident Advisor mix is anything to go by, FaltyDL’s upcoming material is gonna be just as good. On a similar tip, the much (deservedly) hyped track “Hyph Mngo” by Joy Orbison, finally got released on Hot Flush - another label (along with Planet Mu) that is really pushing this sound. Huge track which no doubt will turn up on a lot of year-end charts.

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Direct download: Just_Good_Music_9_6_09_-_In_A_Vision.mp3

Q: What was your earliest musical memory?

A: My earliest musical memory would have to be Earth Wind and Fire. I have this cousin from Arkansas, that showed up on our front door step one morning. He had a bag of clothes and a stack of records. My cousin, Kenneth Que Williams introduced me to soul music. As far as house music goes, my first musical experience has to be Martin Circus on Prelude. That track officially introduced me to some different kind of music.

Q: How did you get into producing music? Was there anyone in particular that inspired/ helped you on your musical path?

A: Being a DJ was great, but I noticed I was not getting the calls like the other guys because I did not have any records out there with my name on them. Then one day while sitting in Derrick May’s office, I was inspired to start my own thing. This was the beginning of producing for me, which was 2001. I give full credit to mentor at the time Derrick May for making the transition into production.

Q: You was born and raised in Detroit but now live in Atlanta. Is there anything you miss about Detroit in particular relating to it’s music community?

A: Yes I was born and raised in Detroit and now live in the ATL, and I do miss some of DJ colleagues and some of the great parties from time to time. When I was there, I was a regular at the Beatdown Sounds events every Sunday with Delano Smith, Norm Talley and Mike Clark. That was my release and form of inspiration.

Q: How is the music scene in Atlanta? Any plans to collaborate with Kai Alce?

A: The music scene as it relates to house music is very cool in Atlanta. You have the guys who do the Sweat events, Calvin and Michael. Then you have the 4Deep ATL guys, then you have Kai and Ramone that do their thing. Each event draws its own following, very small and intimate settings. Soulful and great music comes out of these events. As it relates to my brother Kai, we have not talked about collaborating, but I am going to put it out in the atmosphere and Universe, and say it will definitely happen in the near future. I appreciate that man so much.

Q: You’re currently working on R&B material. Tell us about that and which R&B artists/producers from past and present do you appreciate.

A: Yes, I am currently producing R&B, Pop and Hip Hop in Atlanta. That was one of my reasons for coming to Atlanta, Georgia. I appreciate most genres of music, and it has always been a passion of mine to pursue and challenge myself creatively. Right now as far as R&B producers of the past, it would have to be Jimmy Jam and Terry Lewis, Baby Face and L.A. Reid and Teddy Riley. In the present it would have to be Tricky Stewart and The Dream, Danja Handz, Timbaland and the Neptunes.

Q: Fellow Detroit artist Marc Kinchen also took a similar musical path going from producing house & techno to working with major label R&B artists. This was a very deliberate move on his part to broaden his horizons as well create career longevity and financial benefits - does this resonate with you?

A: The move Marc Kinchen made from house to R&B is certainly inspirational and definitely something I draw from. I remember years ago seeing his name for R&B credits and was blown away. My first love is house and techno on the deep side of things, but I just want to broaden my creative aspirations. Longevity is certainly the key in this game, but it is just important for me to put my stamp on music, before I leave this planet.

Q: Europe’s recent fascination with deep house has resulted in a renewed interest in US artists. In the past year you’ve released on Prime Numbers, Philpot, Clone and Planet Harrier - is it ever tempting to base yourself in Europe for convenience sake?

A: Moving to Europe has certainly crossed my mind, but I think it is best I remain here in the states. Without question, I have released on some great European labels, and they have certainly shed a light on what I am doing in house and techno.

Q: What do you have lined up and when can we expect new material from your label Psychostasia Recordings?

A: Psychostasia Recordings will be releasing a new EP within the next few months. It will be myself and an artist very dear to me called Pinky. She is very talented and deserves to be heard again and again. I will stop there for now on Psychostasia.

Q: African rhythms have been a constant sound within your works and this seems to have come full circle as you recently tapped South African producer Culoe De Song for remix duties on the Let Me Go EP - he turned in an amazing remix. How did that relationship come about?

A: Those African rhythms seem to slip in there every now and then. I can’t help myself. I love percussive tracks with bongos and bells and most instruments in the percussion family. I was formally trained on the concert snare and eventually the drum set as a youth, so I am a beat junkie. I have my father Dr. Limuel Dokes to thank for that one. He was a music teacher with the Detroit Public Schools for years. In addition, Africa is a part of my wonderful heritage, and I find music a great way to express my fondness for the Motherland. My relationship with Culoe came about through my friend Boddhi Satva. I met Boddhi years ago when I was doing a tour in Belgium. Boddhi is a great spirit and I was drawn to him because of his spirit and love for music. We reconnected through this EP I did for his label, and meeting Culoe through music and developing a friendship with him happened naturally. I can’t wait to go to South Africa one day soon to DJ.

Q: I take it you’re passing down your musical knowledge to your kids in the same way your father did to yourself? Giving your working knowledge of the realities of being a musician, what advice would you give to your kids if they decided to follow in your footsteps?

A: I am exposing my children to various genres of music, but they are still kind of young and still in play mode. They both love music thanks to me, but if they decided to pursue it as a career, I would say, “If this is what you love to do, then go for it.” In addition, ” Don’t let people’s comments about your music keep you from expressing what you honestly feel.”

Q: Your productions are sonically very distinct but at the same time they have the archetypal Detroit sound. What artists/releases for you, sound how Detroit feels?

A: There a some artists that are really doing it for me as it relates to the Detroit sound and they would be: Patrice Scott, Theo Parrish, Pirahnnahead, Omar S, Delano Smith, Kenny Dixon Jr., Kai Alce and Norm Talley to name a few.

Buy Reggie Dokes releases at Beatport

Direct download: Just_Good_Music_8_13_09_-_A_Different_Space.mp3

Van Wey, who also records under the name Bvdub, is the first non-Echospace related artist to release new material on the Detroit imprint – a vehicle for various projects from Rod Modell and Stephen Hitchell. Yet, it should be no surprise as to why Van Wey was added to the label roster, as layer upon layer of rich, fluid waves ooze over you as the record slowly progresses, a rich mixture of looped strings, echoey vocals and electronic textures ebb and flow as if breathing extra slowly.

Admittedly, this isn’t the easiest album to digest or understand upon first listen, in that none of the long, expansive tracks (the shortest track is the title track, clocking in at just over seven minutes) are really structured, or at least, it seems that way on the surface. But the more you dig, the more it starts to sink and tug at the deepest recesses of your brain and slowly, the haunting melodies and sometimes paper-thin textures of tracks like “Too Little Too Late,” “A Gentle Hand to Hold,” and “A Chance To Start Over” somehow begin to take shape and somehow begin to make sense.

Lest you lament Van Wey’s entirely beatless format in the 6-track album, Echospace co-founder Hitchell (in the guise of Intrusion) recorded a remix of each of the six tracks and arranged in reverse order of the album itself, giving the listener an even dizzier elliptical audio experience. Intrusion’s takes on the album adds elements of dub techno he’s known for, while still adhering to the key elements and sounds of the original tracks by Van Wey. In all, “White Clouds Drift On And On” is truly mesmerizing and requires ample time to appreciate all its complexities.

Tim Pratt

Buy Album

Direct download: Just_Good_Music_7_20_09_-_Astral.mp3

Q: In the past couple of years, yourself and Rod Modell have been responsible for a huge amount of productions and remixes as well as starting and running the echospace [detroit] label. How clear a vision did you guys have for the label and how far in advanced did you have to plan for the hectic release schedule?

A: Rod and I never set out to do specific releases or stick to a schedule, last year there were only 2 releases on echospace which isn’t nearly as prolific as 2007. Actually, most people would be surprised to know most of the material such as “Vantage Isle”, “Dimensional Space”, “Subtraktive”, Intrusion “Reflection” & “Spatial Dimension” were all recordings which were done ages ago, some were recorded in the mid to later 90’s. In most cases I would re-master or remix the source material recorded. The remix material of Model 500 and Claude VonStroke were both done a few months prior to the releases coming out, but most of the other releases were recorded many years prior. The material released on fortune8 was also recorded years earlier from 1994-1998, I did re-work them to give the releases a more modern edge and they were kind of rough around the edges but with so many un-released songs it made sense to get them out rather than let them sit on hard disk recorders or tapes for another 10 years.

Q: Nearly all of the echospace releases have been limited edition color vinyl. How difficult is it as a label to find the balance between keeping the doors open and appeasing your need to release a well produced, beautifully packaged piece of vinyl? Do you find that the limited quantity does more for raising the profile of the label?

A: Most of the releases have been limited but this isn’t really out of personal preference only what the market will allow. Color vinyl is very expensive to manufacture, almost double the price of standard black vinyl, so you can’t take to much risk in limiting to 300 copies, but enough to not over saturate and still keep it manageable to package them all by hand. It takes a ton of work taking records out of paper sleeves, centering the artwork in each plastic sleeve and sealing them, more time than most would imagine. The Vantage Isle triple pack and Model 500 double pack took me nearly 6 weeks of packaging time with each project, centering, stickering, labeling, etc. I do all of these things by hand, I think its important to have a connection with each and every record, knowing I packaged each one and made sure each one looked perfect is very important to me. I design all the artwork myself and Rod contributes his expertise with photography, he went to art school for photography and does some exceptional work in that regard.

Q: You released Model 500 ‘Starlight’ remixes last year. Aside from 3 of the remixes, yourself and/or Rod provided all of the others. Was there anyone that you would have liked to have got on-board with the project? Are there any plans to remix other classic Detroit material?

A: Sure, I would have loved to have other artist involved with remixes but I was already so far over budget with it I couldn’t afford to make that a reality. In regard to re-working more Detroit classics sure, I would love to see that happen but there are no plans as of now.

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Q: I understand there’s an ambient album being released on echospace can you tell us a little more about this project. What else do you have coming up on the label?

A: I recently signed an ambient album from San Francisco based producer Brock Van Wey, he primarily records as bvdub on labels like Styrax, Quietus, Southern Outpost and Meanwhile. I told Brock I wanted him to send a demo but only when he had something very personal to say and something different from his work on other labels. I wanted this to be a shining example of who he was as an artist and it’s a departure from most of his other work, which is partially why I loved it so much. It is quite hard to sign an artist which sounds too much like you do, I really want the most unique and genuine things people have to say. Outside of Brock’s album I also licensed a live recording of cv313 to a distributor in Japan, most likely it will not see much coverage outside of there though. I am also releasing the debut cv313 studio album on echospace later this year, which will feature studio versions of the tracks on the live CD, so those who feel like they missed out will still be able to hear those songs in their final stage rather than live versions. I have another project called, “variant” which focuses on deep drifting soundscapes, acoustic guitar, field recordings and ventures further into ambient productions, I have a CD coming out in the future and a few other things not yet determined.

Q: The Coldest Season was released through Manchester label Modern Love - how did that relationship come about and what was the reasoning in releasing through them rather than your own label? Are there any plans on working with Modern Love’s Andy Stott & Claro Intelecto?

A: The relationship with Modern Love developed when I was working at a record distributor, I met him through the business side of things. When I told him about the project with Rod he really wanted to hear it and was always a big supporter of the sound. When we finished the album, we sent him the full mastered versions of “The Coldest Season”, he was so in love with it, when he asked to sign it Rod and I were quite happy and went with it. They have been a wonderful label to work with, Modern Love and all the artists associated to it, Mark, Miles, Gaz & Andy are all great producers and very down to earth people, it is a tight little family there and we’re happy to be a part of that. As for working with Mark, Andy or any other artist on the label, sure we would, it hasn’t come up yet but I am sure if that were an option we would do it. We’ve played with most of the artists on the label in Europe and Japan and it’s been a real pleasure getting to know those guys on a personal level. We also are in the final stages of recording the next echospace album for Modern Love now which hopefully will see a full scale release in the fall.

Q: The depth of The Coldest Season really takes hold of the listener and the name perfectly encapsulates the mood of album. Were you guys locked up in the dead of the Midwest winter? How long did it take to produce - I read that you used up to 7000ft of tape per track?

A: Funny comment about the tape, yeah, maybe even more than that! The album was completely recorded in the winter months in Chicago and Detroit, so yes, winter was definitely the setting for most of the recordings. The final track “Empyrean” was added later in the process just as spring had kicked in which comes across quite well in the album, it’s the break from winter into summer. Theme and environment played a huge role in recording the album, it was also done at a time I had just found out I was going to be a father which was a huge part of the inspiration behind it. I couldn’t tell you how many feet of tape was used in the process of recording it, but I can say I have 5 boxes filled with reels, out-takes and 20 different versions of the same song. The hardest task was going through everything trying to find the best of what was there and what worked in unison with the other songs. In terms of time invested into the album, that is a tough one, I would say 2 - 3 years on and off, it wasn’t something we were focusing on all the time, it all came together very slowly. After we had the whole album completed, I later asked Rod to include the closing song “Empyrean” which was something I did years ago when I was working a lot in a dub / reggae band. It didn’t quite fit what was there and in retrospect maybe it wasn’t the right choice but I still love hearing it.

Q: Rod Modell is based in Detroit and you are in Chicago. What’s your working process like - how do you manage being in different cities? How has working with Rod affected your solo productions?

A: Rod and I make it work by making good use out of the post office. We mail a lot back and forth and we do see each other quite often on tours over the past few years. Working with Rod hasn’t really changed much of what I was doing years prior but he has certainly helped me understand the beauty of restraint. Many of my old productions were very full, lots of melody, constant change and now things are a bit more reserved and almost in slow motion which has a lot to do with Rod’s influence.

Q: What’s your take on recent evolutions in the dub-tech sounds? Are you into artists/labels like Martyn, 2562, Appleblim, Skull Disco?

A: I like the artists you mentioned a lot and have bought most of their catalog, I really love the Hyperdub label and Burial a great deal. I will be honest here and say its quite hard to hear the words dub-tech put together though, I never viewed this sound as more than deep hypnotic listening music.

Q: What new artists/labels are exciting you right now and are there any from Chicago/Detroit that people should be looking out for?

A: As far as in Detroit, I think Patrice Scott has been doing wonderful releases on Sistrum, Mike Huckaby has some proper house cuts getting revived, Omar S is doing some good things with FXHE, Sean Deason has been coming back proper with his Matrix imprint, Brian and Luke of Berretta Music are also doing some great things, Terrence Dixon, Reggie Dokes, Delano Smith, Carl Craig, Rick Wade and Scott Grooves have had some excellent material flourish this past year and Ghostly & Spectral are always up to something. Of course the obvious legends like Jeff Mills, Mike Banks, Juan Atkins, Rob Hood who’s back in the studio, Theo and Kenny Dixon and of course Dan Bell who is still mesmerizing audiences with his classic tracks.

In Chicago Jamal Moss has had his hands in some of the raw-est cuts to come out of the city in many years. Steve Tang, Daryl Cura, Traxx and Josh Werner, who was one of the people directly responsible for putting techno in the record bags of DJ’s all over this city, selling vinyl for almost 20 years at Chicago’s most important record shop, Gramaphone. We are actually releasing some new kinda futuristic warehouse cuts here soon, there are a ton of people doing things right now. Ron Trent, Peven Everett, Larry Heard, Glenn Underground, Sean Smith, Chez Damier, and countless other guys coming out to release some great work.

Q: Some of the best dub records are very stripped in sound - drum, bass and effects - how important is this production aesthetic in your own works? Which dub artists have influenced you the most?

A: I don’t think anything is important in my productions and don’t ever think about what it is or is not, I am the exact opposite, I don’t think at all. If you think about what your doing then it changes your feeling, your vibration, I start to play and let my heart do the rest. I love so many dub & reggae artists it would be hard to narrow down names of all those who have influenced me in some way, I guess I would say everyone. Time period of music certainly plays a factor with me, older 60’s / 70’s era records I am really into and when the digi dub sound started to hit in the 80’s (Firehouse era) there was so much coming out it was hard to keep up with everyone. I would have to say the recording and mixing techniques of Lee Perry, King Tubby, Derrick Harriott, Keith Hudson are extremely influential to me. Dub to me is an art form in itself, its very concept may have been to add an additional mix to a B side (version) but more so, it gave the mixing engineer in the studio a chance to put his heart and voice into other people’s music. I think “Dub” as a musical genre applies to a lot of music outside of its Jamaican roots, it grew popular with artist like The Clash, The Police and even rock bands like Soundgarden released dubs of their music, purely instrumental with tweaked out sound effects. It made a huge impact in popular music and still today in r & b you hear guest appearances from Jimmy Cliff and Stephen Marley, it influenced a lot of genres. It always had its influence in electronic music and always will, the very concept is to alter and effect sound electronically which is essentially what this music is all about.

Q: Any thoughts about going to Jamaica for a while and seeing how that will affect your productions?

A: Been there and it certainly has…

Q: Your Intrusion album ‘The Seduction Of Silence’ has been very well received - are you doing any live touring for the album? What’s up next under your solo guises?

A: I am not doing any tours on the intrusion material, I actually only play as a group (the band mentality never left me I suppose), so expect some more tours as echospace with Rod Modell. I am quite happy people like the new album, it warms my heart knowing people felt the music, hopefully I can do another intrusion album in a few years. For now I’ve dedicated most of my time to finishing up the next echospace album with Rod and a few new remixes, some more solo work under different guises. One thing is for sure, I’ll never stop making music, I haven’t for 20 years now and doubt I ever will, it is what I love to do.

Buy echospace [detroit] releases at Beatport