1. Omar-S - Motion (FXHE) Info
2. Mood II Swing - Move Me (Music For Your Ears) Buy
3. Vincent Halliburton - Flipside (Ferris Park) Info
4. Instant House - Hat Hat (Sacred Rhythm) Info
5. Dancing Flutes - Do The Do (Underground) Info
6. Levon Vincent - Pivotal Moments In Life (Novel Sound) Info
7. Theo Parrish - Sawala Sayale (Sound Signature) Info
8. Hot Lizard - The Theme (Product Deluxe) Info
9. Kym Mazelle - Useless (Capitol) Info
10. Jack Frost - Clap Me (A&M) Info
11. Octo Octa - Coldwaves (100% Silk) Buy
12. Ike Release - Puntigam (Episodes) Info

Direct download: JGM_83_-_Motion.mp3 ]]> http://www.popyourfunk.com/2012/05/jgm-83-motion/feed/ http://www.popyourfunk.com/2012/04/guest-mix-for-down-the-well/ http://www.popyourfunk.com/2012/04/guest-mix-for-down-the-well/#comments Mon, 09 Apr 2012 21:23:08 +0000 Cez http://www.popyourfunk.com/?p=1599 I was recently invited to play some records on Timmmii’s Down The Well show, which airs every Tuesday 6pm-8pm on Radio Valencia. Pretty much what was in my record bag at the time - you can stream the recording below and download the entire show here.

Artist - Track (Release, Year, Label)

1. Claro Intelecto - Signifier (Styrax Special, 2011, Styrax)
2. Rick Wade - Harsh Thoughts (Harmonie Park Revisited 2, 2008, Harmonie Park)
3. Convextion - Spice Tea (Untitled, 2002, Down Low)
4. John Tejada & Josh Humphrey - Assimilation (Assimilation, 2010, Palette)
5. Tevo Howard - The Drapes In The Living Room (The Drapes In The Living Room, 2011, Thug)
6. Helium Robots - Jarza (Theo Parrish Translation 1) (Jarza EP, 2012, Running Back)
7. Precession - Sandcastle (Mike Huckaby Remix) (Deep Transportation, 2004, Deep Transportation)
8. Klein & MBO - MBO Theme (Members Only Remix) (Historical Archives Vol. 1, 2006, Members Only)
9. Kyle Hall - Down! (WO6K, 2011, Wild Oats)
10. Omar-S - Still Serious Nic (Still Serious Nic, 2009, FXHE)
11. Mark Ernestus Meets BBC - Version (Shangaan Shake, 2012, Honest Jon’s Records)
12. Lawrence - Flowers (Never As Always Pt. 2, 2011, Laid)
13. Steve Summers - Different Paths (Mode For Love EP, 2011, L.I.E.S.)
14. Terrace - Too Close (Round Up, 1993, Djax)
15. Levon Vincent - Early Reflections (Novel Sound)
16. Lowtec - Dat America (Styrax Special, 2011, Styrax)
17. Disco Nihilist - A New Career In A New Town (Running (Far Away), 2011, Running Back)
18. Round One - I’m Your Brother (Chicago’s Twisted Mix) (I’m Your Brother, 1994, Main Street)
19. The Housefactors - Play It Loud (Play It Loud, 1988, Black Market)
20. Vakula - You Cannot Resist (You Cannot Resist, 2011, Shevchenko)
21. LHAS - Learning To Live (Learning To Live, 2011, Vibrations)

PYF: What is your earliest musical memory?

GB: I remember watching Tears for Fears on MTV as a baby and drumming along with sticks.

PYF: Who are some of your influences, both musical and non-musical? and how does their influence transpire in your work?

GB: I’m not even sure where to begin…I’m influenced by the music of the world…jazz, early electronic, field recordings, folkloric music, hip hop…and lots more. My non-musical influences range from personal experiences to relationships to mythology to nature. There are many great people who have come before and who are here now whom I admire. A question like this is particularly hard for me because as an artist my primary intention is to express what is true for me. I can’t say I seek out influences to inspire my work, it just happens, and ultimately as creators I think what we all create comes from one divine Source of inspiration.

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

GB: I got into producing on computer software out of necessity. I had a vision from a young age of doing a one man band kind of thing (like Prince, for example). As a kid I couldn’t afford a ton of instruments and recording tools, so I was fortunate to come up in a time when I could get some free software and sample records and get a synth and other instruments to create sound collages. I didn’t have one particular person who helped or inspired me on my musical path, but I’ve had various folks along the way share tips, ideas and funds.

PYF: Your home town of Los Angeles has some of the best and eclectic radio programming in the US - has this played a part in shaping your wide musical tastes and production styles?

GB: For certain. I worked at KCRW when I was 16 and used that opportunity to absorb all the different sounds. I also have a big family with widely varying tastes in music, which I think inspired my range more so than radio.

PYF: You produce under quite a few aliases and in many different genres. Is this a tactic you have taken because press/marketers and music buyers have a hard time opening their ears to styles which may not be as popular or easy to market?

GB: No, it’s a tactic I’ve used because the variety is fun and keeps me more interested. I’m not worried about who is having a hard time opening their ears. Let them come around to it when they’re ready.

PYF: A lot of your productions (especially under The Abstract Eye moniker) have a distinct Detroit feel to it, particularly the works of Juan Atkins/Cybotron. What was your first touch point with the music from Detroit and electronic music in general?

GB: I mentioned Tears for Fears earlier. Most of the music that came out when I was born and growing up was mainly electronic, so it’s been a part of my musical interests since the beginning. Early on I was all about Prince, Herbie Hancock, Stevie Wonder…all the electronic enthusiasts, especially those with a soulful sound. I first really got heavily into electronic music at about age 9 when I was first hearing jungle from my brother. I remember particularly hearing Tom and Jerry (4 Hero) and thinking it was the craziest stuff out. As far as the music of Detroit goes, I think Juan Atkins was the first guy I really got into. Also my brother was into techno and house when that music was first coming out, so I would hear things like Inner City often.

PYF: Who are some of your contemporaries that you enjoy and any up-and-coming producers that we should be looking out for?

GB: A lot of my contemporaries are making awesome music but I find myself listening mostly to records from the past. There’s so much still I need to catch up on. I admit to missing out on a lot of current music, but in some ways I like it that way because so much of what’s out there now is disposable. A lot of my friends are making some great music though.

PYF: Would you mind naming a few of them?

GB: My reason for not being specific isn’t to be mysterious or too cool…it’s because I’m not big on the tendency of beatmakers/producers to clique up and vouch for one another rather than to stand on one’s own two. Also, in my view it really shouldn’t matter to my audience what I think about other artists and their music. What should matter about me is what my music evokes, not who or what I like.

PYF: You use a lot of analogue equipment - what is your studio comprised of and are there any instruments that you find indispensable in your creation process and final productions? Also, does using analogue instruments pose any difficulties/worries when you’re touring and playing live shows?

GB: Yeah I have a good amount of gear here. I’m not super strict about only analog…I have some good digital pieces, particularly early digital delays and drum machines. Nothing in my arsenal is indispensable…I use whatever I have at the moment but the setup is always evolving. I don’t bring my big keyboards out much, so when I’m playing live it’s most often with a portable rack setup. It can be a problem for some promoters who don’t get it so they expect me to just bring a laptop like all the other guys (which I do sometimes for DJ sets, but it doesn’t give an accurate depiction of the music making process).

PYF: Selling music via digital channels has become the norm for most musicians. Do you feel at odds releasing music in this manner, when a lot of the analogue warmth has been lost?

GB: I’m glad to share the music however possible, but vinyl just sounds better, period.

PYF: Speaking of vinyl - are there any plans for additional pressings of The Provider and The Cool Warm Divine EP’s, which both had limited initial runs and are quite hard to come by now?

GB: No plans to repress right now…maybe down the line though. Better jump on the next releases while they’re still fresh!

PYF: A lot of your productions are instrumental based, however the recent Steoples release is a collaboration between yourself and vocalist Yeofi Andoh. You also did some early work with Steve Spacek - how did both of those projects come about and how does the collaborative process differ from when you’re working solo? Are there any other collaborations in the works?

GB: Yeofi and I have worked together for a long time now, since 2004 on my “Soundtrack for Sunrise” LP. Steve Spacek and a few other vocalists participated in that project as well. The collaborative process differs from my solo works in that when I’m working with someone, it becomes about what we are creating together, so the process is more about making sure everyone involved is happy with the end result. Also, with more than one mind involved, it becomes a dialogue and something is achieved that I couldn’t accomplish by myself. There are other collaborations in the works, yes (more on those later).

PYF: You did a remix of Carmen McRae’s ‘Just A Little Lovin’ which subsequently was used in a TV commercial that aired during the 2011 Superbowl - that must have been quite amazing having something that you had a hand in creating being heard by millions of people. Has that lead to any other work or opportunities within the tv/film/advertising world?

GB: I’ve had other placements in film and TV both prior to that and since then. It was awesome to land that placement in particular because it was on such a large scale. Most other spots I’ve done haven’t been as extravagant. But yes it got the attention of some ad agencies and production companies with whom I’ve dealt since.

PYF: You recently released a 12″ via Irish label All City and your forthcoming The Abstract Eye EP is being released by English label Eglo. How did those relationships come about? Any plans to collaborate with your Eglo label mates?

GB: Both came about through mutual friends and also because the world of music is a pretty small one so you’re bound to interact with folks eventually. Some collaborations may come about with the Eglo guys in the future…we’ll see!

PYF: What else do have coming up in 2012?

GB: Plenty more music!

Since it’s inception in 2009, Eglo have released a lot of great material. Of course Floating Points has been responsible for many of the labels most well known releases, however their growing roster are adding to those highlights. Eglo’s latest signing, LA’s Gifted & Blessed gives us three tracks under The Abstract Eye moniker, which was slated for a late March release (but still no sign of it yet). Like last years excellent ‘Cool Warm Divine’ EP, it’s another slice of Detroit infused electro and techno, which fits in perfectly with label mates FunkinEven and ARP.101 - highly recommended. Another London based label, Don’t Be Afraid, gives us their latest offering from Mr. Beatnick. The ‘Sun Goddess’ EP, is four deep house cuts, with my personal favourite, ‘Shifting Sands’, having a distinct Theo vibe to it. King Britt also sees a release via yet another UK label, this time being the always interesting Hyperdub. The release under Britt’s Fhloston Paradigm alias, is by far the best material I’ve heard from him in a while. Forward thinking unclassifiable music, with a similar vibe to some of the Actress material - not to be missed.

On the other side of the pond, Aybee gives us his first release of 2012, ‘Astral Metronome’, via his Deepblak imprint - three transmissions of deep techno that picks things up from where ‘11:11′ left off - as usual, highly recommended. Also on the deep techno tip is the forthcoming ‘Subsequent’ EP, the first in a series of vinyl only Episodes from Chicago based Ike Release. All four cuts (including the Hakim Murphy remix) are stellar, with ‘Puntigam’ being the stand out for myself. From new Chicago to old, Black Market re-issues The Housefactors’ ‘Play It Loud’ EP. Original produced by Larry Heard back in 1988, the EP is a lesson in raw jacking house - essential stuff. Another vital release seeing a re-issue is the excellent ‘In The Dark’ album from 2005. One of the strongest releases in Still Music’s excellent catalogue, it compiles some of Detroit’s finest producers, including Marcellus Pittman, Mike Huckaby and Delano Smith.

Mo Kolours gives us the second in a trilogy of EP’s, ‘Banana Wine’, released on One Handed Music. Following up from last years excellent ‘Drum Talking’ EP, ‘Banana Wine’ treads a similar unclassifiable path with percussion heavy dub infused beats, that somehow capture both Mo Kolour’s Mauritian roots as well as his current home of South London. Also included on the EP, a remix from DC based duo Beautiful Swimmers, of one of the EP’s highlights ‘Mini Culcha’. All of the Mo Kolours material thus far seems ripe for some remixes, so hopefully we’ll be hearing more soon. The EP is available on vinyl as well as a free download from One Handed Music’s Bandcamp page.

Artist - Track (Label)

1. Jump St. Man - Because (Garage Trax) Info
2. Midway - Set It Out (Personal) Info
3. Alexander Robotnick - Love Supreme (Fuzz Dance) Buy
4. James Mason - Nightgruv (Rush Hour) Buy
5. Zsa Zsa La Boum - Something Scary (Kaos Dance) Info
6. Steve Poindexter - The Rhythm (Housetime) Info
7. Steve Summers - Different Paths (L.I.E.S.) Info
8. Terrace - Too Close (Djax) Buy
9. Phuture - Spank Spank (Trax) Buy
10. Incogdo - Simple Just A Ventage (Spiritual) Info
11. K-S.H.E. - B2B (Skylax) Info
12. Moodymann - Dem Young Sconies (Planet E) Buy
13. Members Only - The Secret Scent Of Women (Members Only) Info

Direct download: JGM_82_-_Too_Close.mp3

Dutch label Dekmantel offers the first in a series of releases celebrating it’s 5 year anniversary. Juju & Jordash’s contribution, ‘African Flower’, is the stand-out of the two tracks on the 12″. Another version of ‘African Flower’ was first included on the excellent Aesthetic Audio release from 2008 and has long been one of my favourite productions from the duo. The ‘Cosmic Dub’ included on the Dekmantel release, strips things down (compared to the Aesthetic version), giving the bass and guitar more room in the mix which furthers adds to the deep atmosphere of this track. Juju & Jordash also provide a remix, along with John Heckle for TR-One’s ‘Drum Dance’, on Apartment Records. All three cuts on this record are great; Juju & Jordash provide a more dubbed-out affair, Heckle gives us a swinging Chicago style remix and TR-One’s original gives us drum work-out for the first third of the record before breaking into some heavy chords & synth - highly recommended.

On the Detroit tip, Theo Parrish’s remix of Helium Robot’s ‘Jarza’ is one of the best things I’ve heard from him in a while. Sonically cleaner and with drum programming that is a lot more straight-up than most of Parrish’s productions - but there is no mistaking Theo’s sound in this excellent remix. Helium Robot’s original version of ‘Jarza’ as well ‘Crepitation’ are also recommended (although quite different from Theo’s translation). R&S teams up again with Juan Atkins to give us the new Model 500. Atkins is back to working solo (after working with UR members on the last release) and gives us two tracks that are reminiscent of his ‘Deep Space’ era material - a real return to form.

There’s been a lot of re-issues and compilations released over the past few months worth picking-up if you don’t have the originals (or enough money to buy them). First-up, Rush Hour, who always do a fine job with unearthing older gems, releases James Mason’s ‘I Want Your Love/Nightgruv’. The original released in 1996 has become quite sought after, fetching high prices on Discogs. ‘Nightgruv’ recorded in 1984 is a proto-house track that sounds a lot like Larry Heard. On the flip, ‘I Want Your Love’, is a slower boogie number - both tracks are so good that you can understand the previous high price tag. Rush Hour have also released a Burrell Brothers retrospective, collecting the finer moments from their Nu Groove releases. Included are some of my personal favourites like, Metro, Utopia Project and NY House’n Authority - some of the best house music around. Another New York house gem that has been long sought after, the Joubert Singers ‘Stand On The Word’, gets a re-issue from French label Favorite. Included is the wonderful Tony Humphries mix as well the more widely available (but equally as good) Larry Levan mix. New French label, Vibes and Pepper, gives us Claude Young and Terrence Parker’s ‘The 4 Play EP’, which was originally released on Claude Young’s Dow label in 1993. Four raw Detroit house tracks, two of which (the untitled a-side tracks) have not aged too well in my opinion, however the record is still worth picking up for the two great (untitled) b-side tracks.

Also seeing a re-issue, is Porter Ricks’ ‘Biokinetics’. Released in 1996 on Basic Channel sub-label, Chain Reaction, and now getting a much needed release on Type. Deep, immersive techno, that was (and still is) way ahead of it’s time and hugely influential for many producers and genres over the years - highly recommended. Italian producers, Donato Dozzy & Neel, gives us ‘Voices From The Lake’, another essential deep techno album. If you enjoyed Donato Dozzy’s album, ‘K’, then you’ll definitely enjoy what is on offer here. The album’s eleven tracks seamlessly build, giving it a live performance vibe and makes this a deeply compelling album that you’ll want to hear from start to finish.

Artist - Track (Label)

1. Metro Area - Proton Candy (Environ) Info
2. Daniel Wang - Not Feeling It (Balihu) Info
3. Delano Smith - Back In The Day (Mixmode) Info
4. Marvin Dash - Untitled (Workshop) Buy
5. 4th Measure Men - 4You (Area 10) Buy
6. Earth People - Dance (Underworld) Buy
7. Brawther - Asteroids & Stardust (Balance) Info
8. Lawrence - Precious Hall (Laid) Buy
9. Move D - Aspiration 2010 (Soul People Music) Info
10. Alexander Robotnick - Problemz D’Amour (Ndatl) Info
11. Prince - The Future (Warner) Info
12. Armando - 151 (Hot Mix 5) Buy
13. Reese & Santonio - How To Play Our Music (KMS) Info
14. Jack Master - Bang The Box (Jack) Info
15. Kraftwerk - Tour De France (EMI) Info
16. Hieroglyphic Being - 2 (Net28) Info
17. Vince Watson - Signals (Bio) Buy

One from the archives, transferred from a cassette recording made long ago.

Artist - Track (Label)

1. Logic - The Warning (Strictly Rhythm) Buy

2. The Sound Vandals - Feel It (Nu Groove) Info

3. Logic - The Final Frontier (Strictly Rhythm) Buy

4. Alternations - Feel It For You (RCA) Info

5. Sueno Latino - Sueno Latino (BCM) Info

6. Dv8 - This Beat Is Over (Strictly Rhythm) Buy

7. Underground Solution - Deep In My Mind (Strictly Rhythm) Buy

8. Robert Armani - Circus Bells (Dance Mania) Buy

9. MD Connection - Laser Scan (Muzique Records) Info

10. Lil’ Louis - Blackout (FFRR) Info

Direct download: JGM_80_-_The_Final_Frontier.mp3

Direct download: JGM_79_-_Best_Of_2011_1.mp3

Guest mix from m50.

Artist - Track (Label)

1. Exos - Frodi Ambience (AE) Info
2. D5 - Floatation Tank (Delsin) Info
3. Mark Broom - Stairway Skank (Ifach) Info
4. Torul V - La Mont (Thule) Info
5. Ford & Loveday - Dead Eye v.1 (Ifach) Info
6. Alex Cortex - Reticarga Part 1 (Klang Electronik) Info
7. Paul Mac - Back And Forth (Primate) Info
8. Monolake - Linear (Imbalance Computer Music) Info
9. Paul Mac - Not My Strong Suit (Fragmented) Info
10. ø - Twin Bleebs (Sahko) Info
11. Mr. G - U Askin’? (Marcel Dettmann Remix) (REKIDS) Info
12. Black Jazz Consortium - What’s Up With The Love (Soul People Music) Info

Direct download: JGM_78_-_m50.mp3

Artist - Track (Label)

1. San Laurentino - Magnetic Steps (Mathematics) Buy

2. Gunnar Wendel - 578 (FXHE) Buy

3. Robert Hood - Upon A Millenial Moment (Peacefrog) Info

4. Andy Stott - Made Your Point (Modern Love) Buy

5. Theo Parrish & Marsellus Pittman - Selector’s Theme (Sound Signature) Info

6. No Smoke - Koro-Koro (Warriors Dance) Info

7. Chris Perez Project - Singularity (Coco Soul) Info

8. Tevo Howard - 60660 (Beautiful Granville) Buy

9. Untitled 2 - Kassem Mosse (Workshop) Buy

10. K-S.H.E - Double Secret (Skylax) Buy

11. Instant House - Dub House (Jungle Sounds) Info

12. Glenn Underground - Storm Raiders (Eargasmic) Info

13. Five Deez - Fifth Degree (Rapster) Buy

Direct download: JGM_77_-_Magnetic_Steps.mp3 ]]> http://www.popyourfunk.com/2011/10/jgm-77-magnetic-steps/feed/ http://www.popyourfunk.com/2011/09/jgm-76-musique-de-ve/ http://www.popyourfunk.com/2011/09/jgm-76-musique-de-ve/#comments Fri, 30 Sep 2011 20:30:43 +0000 Cez http://www.popyourfunk.com/?p=1464

Direct download: JGM_76_-_Musique_De_Ve.mp3

Artist - Track (Label)

1. Ike - The Mojo (Philpot) Buy

2. Benjamin Brunn - I Took Her Out For A 707 (Ashes) Buy

3. Brawther - Asteroids & Stardust (Balance) Buy

4. The African Dream - Young & Free (Eightball) Buy

5. Herbert - Resident (Phono) Buy

6. M.K. - You Brought Me Love (Area 10) Buy

7. Farley Jackmaster Funk - Jackin’ The Trax (Trax) Buy

8. Jack Master - Bang The Box (Jack) Buy

9. Missing Linkx - Lovin’ Dubbin’ Feelin’ (Philpot) Buy

10. Instant House - The Beginning (Jungle Sounds) Buy

11. Cleavage - Barah (Studio) Buy

Direct download: JGM_75_-_Asteroids__Stardust.mp3

Direct download: JGM_74_-_John_Heckle.mp3

Unlike most techno albums, Parabolas is noteworthy because it unfolds like an actual album, rather than a collection of singles repackaged in album form, emphasizing subtlety and nuance. Opening with the smooth, mid-tempo house-leaning “Farther and Fainter,” the moodiness of Parabolas first reveals itself via the next track, “The Dream” – an eerie beatless ambient track that actually may have been better off as the first track. “Mechanized” is, for me, when the album really begins to pick up steam, a sparse, perky melody punctuated by a series of chords and haunting, ethereal textures that feels influenced by Detroit techno – a style Tejada has long acknowledged as a driving force of his inspiration as an artist. “Subdivided” continues on the moody path, its crisp, electro-style beat offset by smooth synth stabs, while “Timeless Space” slows down the tempo and beefs up the twinkly emotional elements with a vintage feel via the use of the Roland TR-808. Tejada drifts back into warm ambient land on “The Honest Man” before propelling forward again with the upbeat track “The Living Night,” its percolating beat offset by dreamy textures and nuanced melodies. Both “Unstable Condition” and “Hollow Hemispheres” feel like salutes to Detroit techno with a similarity to early Orbital, the former incorporating vintage percussive elements amidst a thumping kick drum and chirpy synth textures while the latter delves a bit deeper via subtle polyrhythms. The album closer, “Uncertain End,” feels aptly titled, emphasizing percussive intricacies without much of the emotion that pervades throughout most of the album. It’s a surprising choice for the final track, only because so much of Parabolas seems to bleed emotion. More than 15 years into his recording career, Tejada continues to evolve and reinvent himself, and the fans are the beneficiaries.

- Tim Pratt

Buy Vinyl/CD | Buy Wavs

PYF: What’s your earliest musical memory?

JH: Recording some shouty covers of The Beatles with my brother when I was about five or six. We had a tape recorder and some headphones in the mic socket to record, and some pans for drums.

PYF: Your sound has quite an affinity with Chicago - what was your first encounter with house and techno?

JH: Again I think my brother (Bill) had a lot to do with that. He took me to my first rave when I was thirteen, to a night called Bugged Out in Liverpool. He got me into a lot of the music I still listen to today.

PYF: Who are some of your influences (both musical and non-musical)?

JH: I find a lot of bands influential, such as The Smiths, The Beatles and The Doors, and artists such as Bob Dylan. In terms of electronic music, artists such as Larry Heard, Jamal Moss, Jeff Mills, Surgeon and Regis have been massive influences. Also some local DJs (such as Mark Forshaw, Sam Baron, Scott McGill, Binny and my brother most of all) have had a big influence on what music I play now.

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

JH: I started making music on a computer for fun in about 2003, which eventually led to the release of a track on RSB records a few years later. I would make tracks and play them in sets during my residency at Liverpool’s Alcatraz night, which was run by my brother and the guys we lived with at the time. We would spend most weekends hammering music in the house anyway, so making music and starting a night was a sort of natural progression. Anyway, it was at this night that Bill booked Regis to play. Regis forwarded a track I had just made to RSB and it was released a few months later in 2006. That is what inspired me to get serious about music. I think 2006 may have been a little early for me though as I was still only at the stage of teaching myself how to produce the sounds that I wanted to make. 
So I guess after a while production took a back seat. It wasn’t until a friend showed me the record The Sun God ‘Ancient Echoes’ that I got inspired to make music again; I’d never heard anything like that record. Soon after I started buying the Mathematics records. I was taken by the rawness and unpredictability of most of them; they were something exciting at a time when I was disillusioned with a lot of current trends.

PYF: Your most recent releases have found quite a suitable home on Jamal Moss’ Mathematics label. How did that connection come about?

JH: Well in 2009 me and a friend traveled to Antwerp, Belgium to see Surgeon and Jamal Moss play at a club night called Sub Scape. Jamal’s live show really changed my perception of how music could sound in a night club environment. Soon after I got back home I made four tracks and sent them to Jamal a few months later. They eventually became the tracks for the ‘Life on Titan EP’.

.

PYF: Mathematics is also releasing your forthcoming debut album, ‘The Second Son’. There’s a little more variation in styles - did you approach writing tracks for the album differently than the singles?

JH: I normally never have any real approach when beginning to write a track. It’ll start as a jam until an element sounds interesting, then I’ll build the rest of the track around that. However, there are two or three tracks on the album that came about through suggestions from Jamal himself. For instance, ‘The Voyager’ and ‘Nothing Can Last Forever’ came about after he suggested infusing some italo and ambient into the project. This was the first time I had to really think about what I was making.

PYF: Your sound is firmly rooted in raw analogue, although there seems to be a bit more going on. What’s your studio comprised of? Do you use a combination of both analogue and digital? and how do you approach production?

JH: I do prefer the ‘analogue’ sound, and tend to lean towards that sound when jamming out the beginning of a track. But I won’t swear by analogue just for the sake of it – I will use digital sounds if they fit with a current project, and so do tend to use a combination of digital and analogue equipment. The majority of the equipment is, however, analogue – with the likes of the Juno 106 and the Roland tr-707 quite heavily involved a lot of the time.

PYF: There are quite a few UK producers, including ones that are usually associated with other genres (Lone, Joy Orbison, Floating Points), that are producing Chicago influenced tracks but with their own twist. What’s your take on this? and who are some of your favorite current producers?

JH: I can only speak for myself, and I find that dance music has not greatly improved since the early incarnations of Chicago House (and its Detroit counterpart). Lots of great music has been influenced (directly or indirectly) by those early tracks, but has never completely surpassed them in terms of innovation or sheer rawness in my opinion. I guess this is why so many producers find it so influential. 
In terms of favorite current producers, I think that there are a lot of talented producers doing great things at the moment but I couldn’t decide on any favorites. I sometimes miss out on a lot of the new records and producers.

PYF: What else do you have coming up?

JH: A CD version of the Mathematics album which will be full of brand new tracks. An EP on Tabernacle Records called ‘The Extrovert/Introvert EP’. A few more exciting projects I am yet to complete, but which should see release come late 2011 and 2012. And aside from that I will be doing various live performances and DJ sets throughout this summer and beyond.

PYF: Tell us a little about the forthcoming mix you’ve provided for the podcast?

JH: It’s just what I was feeling at the time of recording. A lot of records I hadn’t played for a while in there, a lot that never leave the bag… hope you enjoy.

Second installment from the Night Gallery crew, Kuri Kondrak and Shawn Kralicek.

Artist - Track (Label)

1. Ra.H - Fall Of Justice (Morphine)
2. Juju & Jordash - Tattoo Island (Philpot)
3. Gegenheimer - 21:4 (Ratio)
4. Fred P - On This Vibe (Esperanza)
5. Kassem Mosse - Untitled (Workshop)
6. Marcellus Pittman - The Mad Underdog (Seventh Sign)
7. F.U.S.E. - Approach and Identify (Plus Eight)
8. Chip E - Like This (DJ International)
9. Boo Williams vs Glen Underground - Mayday Funk (MAAD)
10. Common Factor - Get Down (Planet E)
11. Disco Nihilist - Relentless Drums (Construction Paper)
12. Dijkhuis - You Can Bring It (Night Gallery)
13. John Heckle - The 4th Dimension (Mathematics)

Direct download: JGM_73_-_Night_Gallery_Pt2.mp3