Kana Broadcast
By Kana
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Podcast Description
Kana are taking Brisbanes House and Techno fraternity out of clubs and into public spaces... but in-between the noise you can catch the Kana Podcast every week right here. Kana residents Adam Gillett, Elliot Clarke and Fuzion will rotate alongside guests every week to showcase what is really making waves around us.
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ExplicitKana Broadcast 029 Miss Sunshine | Osijek, Croatia is our domicile this week and the borders of Hungary and Serbia traverse it. Sunčica Barišić, (aka: Miss Sunshine) has constructed a thorough and consistent directive throughout the past decade. If we were to place that period in an appropriate context, it would be riddled with heavily medicated rhythms colluding with the realisation of appreciating the harmonious ally in a balanced life. It’s more so a spectacle if anything when an individual is able to implement it into their daily routine whilst effectively defending the foundations of their character. Her releases and performances have reflected the illustration we’ve canvased thus far and it most certainly is evident in the work that’s just been released in the form of the L’Amour EP, as well as a dense touring schedule across Europe and South America. What we consider just as admirable though, is she’s certainly one of the more truly genuine contributors to the scene and if you’ve taken the time to spend time with her it would become apparent immediately. This broadcast operates as an annex to a career that’s cementing itself as one destined for further successes. The next hour will corroborate that claim. – Kn: Your home town of Osijek, Croatia, shares equal boarders with Hungary and Serbia. How do you think the cultural propinquity of these countries influenced your creative pursuits growing up? MS: In the beginning probably a lot cos the only source of information was from our neighbours, especially from Serbia cos we have such a big history together. Maybe this kind of tightness, in the beginning, was a problem for artists from the East Europe. We were developing very slowly and everything was coming to us delayed, and I always felt like I was a few steps behind everything. But with the growth of the internet everything changed and I was now closer to the spotlight of electronic music. Information and music came to us much quicker and I could refine my sound under all these numerous influences. Kn: Previously you have mentioned that music is your life. Can you recall the deciding moment that gave birth to the vision now fully embraced as your career in music? MS: Music production is the most beautiful thing that has happened to me as a musician. As we spoke in the last question, this is something what came to me late too, after almost 9 years of Djing! I am very excited about every second spent in my small home studio and in creating something that others will love to play too – a beautiful feeling! This is something that gave my journey as a musician another shape and dimension. My first steps into production with Volster as “Sunshine & Moree” project and later my first solo EP “Hush” on Monocline records was something that changed my life. From that point on I could express my self in the way that I felt was missing before when I was only a dj. Kn: You’ve recently joined forces with the Tikapama agency, a sure sign that things are heating up in camp Sunshine. How has life changed for you over the past couple of years as your career continues to build momentum? MS: Oh yes… life has changed a lot, especially the last 3 years was a big roller coaster for me. I am now living the life of a musician, every free moment I spend in the studio and on the weekends I am touring. I am glad that you notice Tikapama agency, a very fresh and young agency (with very nice artists) which I hope will help me with organization and bookings, leaving me more time to be creative. Kn: Life has a way of keeping us on our toes. Despite our best intentions, everything can change in the blink of an eye. Even a thoroughly planned tour can go awry at a moments notice. How do you keep your cool when things begin to fall apart? Any particular mantra’s or habits that keep you sane and focused in this hectic world we live? MS: I can say that I am a pretty [...] | 22 2 12 | Free | View In iTunes |
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ExplicitKana Broadcast 028 Luis Ruiz | As this weeks broadcast goes live, the night lights of Buenos Aires will be collectively instating a crusade on it’s streets, though it is in the concrete fields of this vibrant municipal where our guest this week has fortified himself. From a young age procuring the hardware that has sustained an experimental mentality, it’s now been 17 years of commitment that’s facilitated the plastering of his work across flagship imprints such as M_Rec and an establishment defined as his own, Subsequent Records LTD. As a consequence, some care should be administered to any inferred invitations these parades endure, and although only a relatively diminutive period of time has elapsed since the releases of ‘Atlantis’ and ‘Anunnuki Invasion’, it’s the derivatives of this work that implicate the cosmos in a mythological crises which doesn’t appear to be concluding in this life. Perhaps In a world where ancient surrealism pervades. We’re with Luis Ruiz. – Kn: Can you tell us about your life growing up, how your path proceeded the way it has and what impacted your own evolution? LR: If we speak about evolution, we have to give a brief overview of achievements and important things. I think that foremost in my life has been to differentiate the present trends, socially established in the current Techno, studying the times in which we live. The growth in my career has been slow during these 17 years as a producer, always in the underground, with a low profile. From an early age I liked to program synthesis, patterns and play with knobs, sliders, faders. The key has been studying my equipment, synthesis and Midi systems. My music has an unconventional face in these times where “everything” sounds modern, and has lost the roots of Techno. But my greatest conviction is to keep intact that old school sound that I love. True to my roots coming from Detroit and Berlin’s ‘90s true real techno. The conviction that grew in my life was to believe, defend and keep alive the techno spirit. It is what I call real evolution, have a mental awakening, a connection to a higher plane of existence that I get only with techno. Kn: The scene in Buenos Aires at the moment – is it moving in the right direction? Is there a general trend at the moment you’d like to see more of, or perhaps one you’d like to see less of? LR: Not good at all. Currently the scene is too divided, badly. There’s a few techno events (modern minimal-techno so-called “techno”, and things related to today’s false techno, something that bores me about that trend). But occasionally, I have the chance to play at an underground event in some dark basement. I love those places with few lights. I remember the best times in Buenos Aires were in the 90′s, at a mythical club called “K2″ with a “rave” spirit, there was a place for fast beats in techno. Today we lost that. Unfortunately the people follow the fashion and trends. I hope that changes soon, even in the underground. Kn: Your recent LP ‘Atlantis’ featured a few great tracks that is quite different to what you’ve been producing of late. Was the approach to the album slightly different? Was it an opportunity to experiment on different tangents? LR: Atlantis is my purist side as the old school that I talk about. 100% Detroit oriented melodic, emotional and deep as I could express my most sensitive form. Many of the titles were taken from my studies of ancient cultures, themes of anthropology, history, philosophy, literature, quantum physics, cosmology and astronomy… often issues influential in my daily life. I have been strongly influenced by our creators, those who from heaven to earth came… The album was thinking from the beginning as something different than I had been published, with a concept that motivated me to write and produce music together. Not only expose my musical ideas that range from melodic to [...] | 15 2 12 | Free | View In iTunes |
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ExplicitKana Broadcast 026 Anthony Collins | We’re taking an unpredictable though calculated tangent this week that runs parallel to the cogent house scene our guest this week has helped establish. From his younger years studying film in France, Anthony Collins commenced an acclivity at a critical intersection in his life, where as the majority of the populace would arguably have adopted a more cautious approach. It’s these defining moments that characterise our creative composition and it comes as no surprise that after several successful projects, Rabouine House and Doubts & Shouts to name some the finer examples, he’s now found himself cooperatively working to further a new institution in electronica – Scissor & Thread. Now whilst routine coordinates a passive standard that can be detrimental to progress, it’s clear he’s constructed a focus that’s acting as a catalyst in dissolving said state as far as the broader community is concerned and we’re still many years from a conclusive summary in his advance. As a substitute, we’ll leave you with this weeks broadcast to conspire against any diplomatic interference regarding your own judgements. – Kn: Growing up between New York & Paris certainly would have exposed you to two very diverse and influential musical cultures. Were there any particular pivotal or influencing moments when you decided you wanted to become part of the electronic music world? AC: It happened randomly actually. I was about 18 and had just moved out my parents house and had my own first flat in Nice, a city where I knew no one, as was over there to do film school. I had some money set aside and purchased a pair of decks for my flat. I started spending hours DJ’ing and dropped out of school haha… and then I discovered after-hours and the more underground house that went with it and I was hooked!! Kn: Your father had a Jazz Studio in LA while you were growing up. Has that influenced the way in which you approach music production? AC: I was a baby when he had that studio, I have some cool pics of little me on this giant mixing desk. But by the time I got into music myself my father had been out of the music industry for years… Kn: You’ve managed to release a staggering number of quality records in the past 5 years, and show no sign of resting on past achievements. Was that your plan from the beginning or did things just evolve organically over that period of time? AC: There was no plan at all. I am just spending loads of time making music, so have produced lots of new material. Lucky for me cool labels liked the music and wanted to release it… simple as that! Kn: The Freak n Chic era must of been quite an influential period in your life as an artist whilst being surrounded with a crew of like minded friends in Dan Ghenacia, Shonky & Dyed Soundorom and releasing career changing material such as ‘Rabouine House’ and ‘Doubts & Shouts’. However, things for you have developed and you have created your own imprint with Adultnapper under the title, Scissor & Thread. What did that particular period teach you as an artist that you’ve employed into the philosophy and spirit of your new label? AC: The main point that I learned is creating a family relationship with all the members of the label, so that means being very selective. That was the strength of Freak n’Chic and it will be our strength as well with Scissor & Thread. The first two releases were by a New York based artist called Black Light Smoke, who will also be releasing an album in 2012 for us. The 3rd and 4th releases are tracks from the upcoming album of Francis Harris on the label, with amazing remixes by Matthew Herbert, NSI and Black Light Smoke. In 2012 we will be developing new talented artists that we have discovered, very excited to get all this music out, you can’t imagine! Kn: In an ever-expanding market, musical longevity and producing a timeless [...] | 11 1 12 | Free | View In iTunes |
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ExplicitKana Broadcast 025 Giorgio Gigli | Drugged redshifts, alien frequencies and the implementation of technology capable of conquering the ocular cosmos would be an appropriate precursor for a dissociative narrative and our host this week presents the scenario in a confronting medium. The modern classic world of Angelo Badalamenti, Klaus Schulze and Ennio Morricone set a precedent; a world’s indispensable depth comprised of a persistent battle between love and hate. The collateral fragments of this conflict have assisted the release of varied works across imprints such as Prologue, M_REC Ltd. and Electric Deluxe, the latter of which he now calls home. To be honest we’re still somewhat perplexed as to how he’s acquired the time to complete the projects that have arisen from his headspace of late, most of which endorsed the dense evolving landscapes that have inspired our vista on submergence. The parameters within which his work resides are still only a tenant of his expansive disposition – we’re only visitors. Our broadcast host is Giorgio Gigli. – Kn: Ideas and venturing into rolling cognitive terrain play a big part in your productions and performances. What fascinated you when you were younger that inspired this deeper thinking? GG: I was largely inspired by emotional and intimate states. I can say that my main source of inspiration is Love. Love as an undefined and metaphysical entity, a mysterious but delightful experience who every human experienced during life. So I was early inspired by ambient music, modern classical and dramatic soundtracks (like Angelo Badalamenti Klaus Schulze, John Carpenter, Brian Eno, Ennio Morricone, Goblin and Tangerine Dream), all the music I can feel particularly emotional. After them, I did my first approach to Techno listening artists like Plastikman and Speedy J and labels like Plus8 and Probe, I had early understood and analyzed the strong link between Ambient and Techno. GG: 2011 has been an important year for me and for techno music in general. A lot of good stuff was released. It’s a great time for techno and I’m fully concentrated to make 2012 bigger than 2011. There’re so many great techno clubs in Europe and around the globe so I’m happy and glad of them. It’s not easy for a producer to understand what you need to achieve personal aspirations. I think it’s a matter of passion and love in the full respect of other artists. It’s not a comparison matter, I think there’s enough place for everyone, everywhere. Everyone is great for what he does, if he does them with love, sacrifice, passion and hard work. – Giorgio Gigli’s podcast has been realized using vinyl with 2 Technics SL-1200 MKII, 1 Technics SL-DZ 1200 and Ortofon Concorde Pro cartridges, 2 disc stabilizers and an Allen & Heath Xone series mixer. – Links: Giorgio Gigli / Electric Deluxe / Zooloft Records / Beatport | 4 1 12 | Free | View In iTunes |
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ExplicitKana Broadcast 024 Swayzak | A condensed pulchritudinous outlook on anyones inhibitions arguably sets a scene for an anarchical foray into futurity, and it’s this idea that presents every artist with the ominous prospect of making a difference. It’s the lifeline that we attach ourselves to, one that we find within ourselves that ultimately results in self-procurance – this weeks guest, David Brown, effortlessly acknowledges it. If you had the opportunity to attend Fabric on the fifth of November this year, you would have witnessed James Taylor’s final performance alongside Brown, though it stands to reason that both will fulfill their reverie. It’s been years of commitment and achievement that commenced with the EP “Bueno” [Swayzak Recordings, 1997] which brings us to this time and place. Since then, the releases of ‘Loops From The Bergerie’, ‘Some Other Country’ and ‘Snowboarding In Argentina’ have been featured prominently throughout the past decade and rightly so. The live exploits that ensued only reinforced the denudation. This weeks special broadcast will put things right, in your own place. You’re with Swayzak. – Kn: You guys mentioned in the past that your friends had to give you a subtle push to release your first work back in ’97. What were you playing around with in those years and what was going through your heads that made you slightly apprehensive about taking the next step? S: Mainly playing around with samplers, beer and drug types – the results were our first album + a series of 12″s but lack of confidence I guess, we weren’t the networking types and we didn’t really fit in anywhere with our sound, we weren’t hipster dj’s and didn’t frequent clubs. We ended up being lumped in with the british tech house scene something that we were never part of, only we were british and made interesting music! We never tried to push our music on anyone, it was a series of lucky breaks that got our music out. Mind you, we financed ourselves and very nervously waited for the results. We had no clue and you can see this in our first EP artwork – it’s a mess! We mailed a copy to Laurent Garnier, he phoned up and left a message along the lines ” beautiful and moody” things started to get exciting… Kn: Fusing different musical interests that the both of you had would of created an interesting dynamic while you both found common ground. Was there any particular trait that allowed everything to fall into place and is it something that’s constantly evolving? S: At the start our styles were different, James was into deep house and hip hop, I was into ambient and Joy Division, but we worked well together – he brought the funk I brought the darkness. We both went to the same gigs and drank in the same pubs, we were best mates really linked by our music work. He would be cutting up beats, I would drop the basslines but after a while the roles reversed. I used to sample Cocteau Twins, he would sample Bob James so it was an odd mix! Kn: …and on that note you’ve incorporated the use of vocals more than once or twice, something others perhaps shy away from. You both seem to know how to do it right, so where do you think this originated from and what thought processes are involved as opposed to that natural instrument being absent? S: Listening to pop music since we were kids, Top Of The Pops etc. We got a bit bored doing instrumental stuff and chance meetings with a couple of singers got us thinking. Kirsty Hawkshaw was great, Cassy too, Klaus Kotai, a Berlin legend but I don’t know where he is now! Richard Davis is “the” voice! We just told them all – do what you like, we don’t produce that way… Kn: On the topic of evolution, how do you feel things have panned out as far as your personal growth is concerned? If you could reflect on one or two things for us that played a part in who you are now, what would it/they be? (It’s a pretty [...] | 21 12 11 | Free | View In iTunes |
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ExplicitKana Broadcast 023 Andras Toth | Classical music beginnings from the depths of Eastern Hungary with a stern emphasise on theory and cogitation is the source of a restless curiosity that few can induce, though we’ll categorise our guest this week accordingly. Cultivating said past and being heavily inspired by electronica more aligned to the left, his relocation to Barcelona and signing to the minimal paramilitary establishment that is Alphahouse has ensured the justified exposure of the more prominent record “US.” and his collaboration with Butane that proceeded. As far as performances are concerned, his voyages are comprised primarily of introverted characters imitating acoustics which produce a seamless compilation of attenuate and diverse rhythms that collectively entrance any given listener – this broadcast only serves to amplify this. Andras Toth is your host. – Kn: Combining the backdrop of a beautiful city like Budapest, with a classical music eduction at the Bartok Bela School of Art and Music must of made for an interesting upbringing. Tell us about these early days, your formal musical training and where you first drew inspiration to pursue the art of DJ’ing and creating electronic dance music? AT: I lived in Budapest for seven years, but originally I’m from Békéscsaba and grew up on a south-eastern area of Hungary. I was 6 years old when my parents entered me into the Bartók Béla music school, for learning piano in a formal way and I started to learn music theory and consonance disciple. My first inspirations came at home listening a lot to my parents’ vinyl collection. I listened to a lot of Frederic Chopin, Liszt Ferenc, Pink Floyd, Dire Straits, Jean Michel Jarre, Mike Oldfield, Kraftwerk. I was already dreaming about creating my own music and to touch it on vinyl. After I finished 8 years of piano I got my first synthesizer-controller and started to discover more kinds of electronic music. I was listening to a lot of Autechre, classic techno and prog mixes, psychedelic and IDM music. These already made me want to find out how to mix vinyls together and soon I bought my first deck with a two channels -mixer. I was 16 years old when I first tried demos of a musicmaker software and this decided my next experiences as a musician. Finally I left over starting at the technical college and the musical university, because I moved to London when I was 19, started to work and try life, and discovering new music monthly in Fabric and Turnmills. Needless to say how a young music lover could be inspired by these clubs for making electronic dance music. Kn: You’ve recently moved to Barcelona. Undoubtedly one of Europe’s most artistically inspiring cities. Tell us how the city has helped you develop as an artist and if that has consciously filtered into your productions? AT: I was here with good friends in 2007 for the first time, listening to Luciano and Cadenza artists at a Raum Playa event on the beach. I fell in love with this city then and now I have been living here for two months. Barcelona is really beautiful inside & outside, with its underwater-styled buildings, small labyrinths, tight dirty streets around La Rambla; just a walk in the center could be really inspiring for me to create new music, it fills me up with enough impulse and adrenalin. Also I wanted to clean my head out for a bit, to pull myself out from home for a rebirth after the last years. I love the soul of this city and loving the people around me which helps me to develop. I really want to finish my Alphahouse longplayer album here with some other good productions for the next year. Anyway, Derrick May gave the first musical inspirations for me here two months ago, he played a five hours dj set in Macarena Club. It was awesome. Kn: Your current dj/liveset is really something else. What initially inspired you to move toward this approach. What typically goes into the process of creating [...] | 14 12 11 | Free | View In iTunes |
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ExplicitKana Broadcast 022 Deepchord | We’ve always found a sort of comfort in confiding in electronic assassins and the silent requiems that are a result of their pursuits, perhaps none more so than our broadcast host this week. The birth of his path dates back to the vibrant cultural paroxysm that was Detroit in the mid to late 80′s which choreographed a timeless blueprint thats true soul is easily recognisable in any performance or release that’s made its way from his world. Now even though he’s confessed that much of that segment in his life has been pseudo-erased, unintentionally or otherwise, it delivered the infrastructure that supported the exposure for ‘The Autonomous Music Project’, sub explorations with Echospace/CV313 and one of the standout records of 2011 ‘Hash-Bar Loops’ on Soma – that’s all without even grasping the alias’ and back catalogues that encompass various tangents. We’ll terminate any further projections as it’d only derail the exercise of deploying the decoys that entrench themselves in an ethereal saga. You’re with Rod Modell, aka: Deepchord. – Track List: 01. Rod Modell “Pressure Drop” (Unreleased) 02. Gez Varley “Soul Gate” (Force Inc) 03. Ghislain Poirier “Orange Brûle” (12k) 04. Giriu Dvasios “Vesu – Quantic Mix” (Cold Tear Records) 05. Grit “Ride” (mnml ssgs) 06. Glimpse & Alex Jones “True Friends” (Kindisch) 07. Itmar Sagi “Mr Bandi – Original Mix” (Drumcode) 08. Phillipe Cam “Karine” (Kompakt) 09. Merv “Melted Vein” (Dancecop) 10. Pacou “All It Takes” (Cache) 11. Female “Viva” (Downwards) 12. Mike Dehnert “Without” (Fachwerk) 13. Murmur “Mesh” (Meanwhile) 14. Scuba “Aesaunic” (Hotflush Recordings) 15. The Juan MacLean “A Human Disaster – House of House Mix” (DFA) 16. Octal “Heavy Petting” (Thule Musik) 17. Haiko Laux “101/106″ (Tresor) 18. Pacou “Minus – MLZ Remix” (cache) 19. Pacou “All It Takes – Huckaby SYNTH Mix” (Cache) 20. Orlando Voorn “Planet Ultra” (Cache) 21. Mark Ernestus “Meets BBC” (Honest Jon’s) 22. GoGooo “Dérive” (mOAR) – Kn: Being from Detroit, you wouldn’t of had to look far to find inspiration around you and get caught up in a revolutionary movement developing. How did things play out in those years for yourself and what did you take away from the relationships you forged? DC: It’s funny… I think I’ve blocked out much of this period. I grew up in Detroit. I went to school there and made friends there. I was at the epicenter of the “techno-revolution” there. I graduated from high-school in 1987, and went into art school after, so I was living in the midst of it all in the late 80’s and early 90’s, and it was influential. However… not much has happened since. It’s sad for me. It seems like many European scenes took over the development of this music, and they have been working it since. Detroit could have been like Berlin. People from Berlin were traveling to Detroit in those years to study the model. They went back with their notes and started vibrant scenes. Why couldn’t Detroit grow the seed it planted? I think there was too much ego and people trying to run with the ball, and score by themselves and consequently ignoring the rest of the team. I think all the successful techno scenes were developed by teams rather than individuals. If the Detroit techno musicians viewed themselves as part of a team, rather than one guy trying to outdo the other…. we’d have something special today. I really think Mike at Submerge understood this, and tried this, and it looked like it was going to work for a minute, but then it seemed to unfocus. Photo by Yves Marchand and Romain Meffre I learned allot there, and made many friends. Since the 1980’s, Detroit has cleaned up considerably. Lots of face-lifts, and government grants to clean up the urban decay and blight. It looks prettier driving through, but I [...] | 7 12 11 | Free | View In iTunes |
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ExplicitKana Broadcast 021 Sawf | Photography by Jeff Heurteur Heavy mechanical paraphernalia lines the walls of this weeks broadcast – a confronting acknowledgement of tomorrow’s landscape, perhaps. Montreal born, our guest wasted no time in submersing himself in left field thought after relocating to Athens, an environmental framework that’s escalated his work to be one of Perc Trax’s flagship conspirer. To corroborate the claim, his full album release FLAWS effortlessly defends any cross-examination. You can safely deduce that you’d be hard pressed locating extensive media exposure, and for good reason. It’s more so a tactical development that’s a direct imitative of an artist that’s more so inclined to relocate his conscious in the company of virtual explosions, as opposed to reckless vanity. The next hour that defines this weeks installment is a twisted provocation, and we’ll happily sanction your own industrialised retaliation. Your host – Sawf. – Kn: Not much is known about you from the media perspective. Tell us about your background and what influenced you musically growing up? S: Well, I was born in Montreal, Canada and soon after moved to Crete, a Greek island, and at the age of 17 moved to Athens. Before I got into techno the music that got most of my attention was usually close to rhythm noise, industrial and weird electronics in general. Kn: Coming from a more secluded area of Europe and with a small number of artists in Greece, from where was your inspiration derived and how did you harbour it to progress yourself? S: My inspiration obviously was always coming from non greek artists. Home practice with every gear or software I could get my hands on is how I developed and progressed. Focusing on a small amount of software or hardware helped as well not to get confused throughout the process. Kn: Every artist needs their own space and not being constantly bombarded by stimulus or being constantly influenced/exposed to trends will always breed a fresh orientation – how do you adjust to the outside world (in every sense) whilst maintaining your own path? S: I guess the only need I feel to adjust to the outside world is only through my sound whether its a track or a gig. Being away from european dancefloors where rhythm music gets a proper play out forced me to maintain my own path sound wise. Also being into techno before the minimal rise of 2005-6 helped as well in order to be fully aware of how filthy techno can be. Kn: As people, we are a direct result of our experiences and surroundings. What would you say has been one of the most pivotal moments that shaped the Sawf sound over the past 3 years? S: Well, when 2008 got my first track out, techno had not begun to get the hype that gets now. So, in terms of heaviness, I knew from the beginning where I wanted to go. I think what mostly shaped my sound is, as I said, home practice. There were times that hearing a track from another artist intrigued me to start a track of my own but the result of this work are some tool tracks I keep for myself. All the tracks that I have released mostly on Perc Trax are a result of endless experiments and the need always to use different elements on each track. You can add to that the fact that I try to avoid as much as possible using the same sounds in more than one track and I never have a release in mind when starting or finishing a track. Kn: This year we saw the release of your first album titled FLAWS on Perc Trax with a remix package following later in the year. An intoxicating mix of industrialist techno and sound scape’s. How did it all come together and how did the different tracks fuse to create a single entity that represented your current time and place? S: All the different sounding tracks of Flaws have somehow a connection which is actually hard to be noticed even to me. Usually when a techno album is out there are some sounds, whether its the drum parts or [...] | 30 11 11 | Free | View In iTunes |
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ExplicitKana Broadcast 020 Mattias Fridell | We’ll summarise before even starting – our guest this week has been aggrandising the world of electronic music with a consistent perseverance that you’d expect from any given regime intent on changing the world. From the earliest of days which consisted of experimenting with his parents keyboard and sequencer, it laid the foundations for being able identify any faults in his progression and adjust the result accordingly. Now, that capability isn’t abundant regardless of the creative vice you analyse, though it’s been integral to the co-construction of his imprint Tonal Path with close friend Glenn Wilson as well as having his own work appear on other respected labels such as Labrynth, the latter of which hosted not just one of his most impressive works of late, but arguably one of the releases of 2011 – Pataphysics. Diverging his own sound into various identities whilst submerging himself in the delineation of forthcoming projects is an embellishing thought that’s now a concrete realisation. It demands attention, irrefutably. This weeks broadcast proprietor – Mattias Fridell. – Track List: 01 Jeff Mills – Brace Yourself (AxisCD044) 02 Egor Boss – Neon (Gynoid051) 03 Delko – Asilo (Ness Remix) (SHT031) 04 Dacido & Meta – Eruption (Jeroen Search Remix) (FluxusDigital01) 05 Lee Holman – Perception (HOME009) 06 Jeroen Search – Paper Space (CSF035) 07 Claudio Masso – Just a Reason (Gynoid053) 08 A Hvich – Directory T (Logotech’s Innerview) (Archetype 001) 09 Shifted – Junk (Mote Evolver21) 10 Joboday – Display (Patrick Bolton remix) (SMR011) 11 Dadub – Biopoiesis (SA Monad VIII) 12 Darkcell – Radiant Flux (Translucent 3) 13 Mattias Fridell – Justify Or Prove (Gynoid054) 14 MFS – Institoris (Translucent 7) 15 Antonio De Angelis – Straight To The Bank (Gynoid07) 16 Peter Van Hoesen – Last One AT 1080 (Inertia-1) 17 Headroom – Strike (PRUK34) 18 Headroom – Giger (COMP01) 19 Blind Summit – Subconcious Distractions (UTSCH) – Kn: It’s been eleven years now since your first release with close friend Alexander Johansson, and even longer since you started to bind an ever closer affiliation with music in Sweden. Can you tell us a little about how growing up led you to where you are now? MF: Well, I really think I’m a product of the environment, hehe. I grew up in a very musical family and I found friends with a similar music interest early on. We used to buy records and record tracks & mixes on a double-cassette deck I had. My parents had an old keyboard with a very simple sequencer that we played with & recorded the result. That’s probably the foundation for my early productions. Electronic music got us hooked right away. A few years after I met up with Alexander we discovered that we shared the same common goal to really focus hard on our biggest interest music. The Techno movement is Sweden was coming on strong and we really liked the whole thing. It was very inspiring. We had so much fun during these learning years and we were probably considered very nerdy for sitting in front of computers, synths & groove-boxes and constantly talking about music and music production, haha. After our first release we got some amazing feedback and the record went well. Soon after we got offers from other labels and that’s the path that took me to where I am today. After several releases Alex took a 6 year long break from Techno but I never stopped. Kn: You played an equal hand in founding Tonal Path with Glenn Wilson, which certainly has hosted some outstanding records in the past and this year is no exception. If we deconstruct its origins, what was the underlying sentient behind starting the project and what have you learnt along the way? Plans for it’s future? MF: The Tonal Path project was set in motion after much talking between me and Glenn. We wanted to have a platform for our collaborations and Glenn [...] | 23 11 11 | Free | View In iTunes |
| Total: 9 Episodes |
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