Here’s the RA podcast link and the tracklist.
1) the knife – stay out here (riley rework)
2) hyetal – diamond islands (riley rework)
3) james blake – a case of you (riley rework)
4) falty dl – hardcourage (riley rework)
5) kate boy – northern lights (riley rework)
6) rio riley – when it comes to love (original mix)
7) rio riley – don’t give up on us (original mix)
The podcast is a conversation with an artist who has just released a new album. The first half of the interview is about music and how the album was made and the second half is about the scene that surrounds it.
The podcast features new and unreleased music, classic tracks, and mixes of related music from around the world.
How did you start DJing?
I started playing out in ’93. I had a group of friends who were all DJs, but I wasn’t able to get any gigs right away because there weren’t many venues around and the guys who did have the residencies didn’t want to let go of them. So I had to work my way up. I bought my first set of turntables from my friend Norm Talley and then I just played out as much as I could.
Where was your first gig?
My first gig was at a club called The Shelter, and it was mainly for house music—a lot of Chicago house like Cajmere’s early stuff and K-Alexi. But there were also some things that weren’t on the radar yet, like Robert Hood’s Minimal Nation album. That was probably the biggest influence on me getting into techno.
It’s a simple concept, but one that’s not without controversy. As RA’s Todd L. Burns wrote in his review of the first record, it is an “experiment” that “carries with it a number of questions.” Can music this playful, this abstract and at times even silly be taken seriously? Is it appropriate for artists as established as Barker and Ullmann to put their names to something so casual? What does this mean for the future of techno?
The answers are difficult to pin down, but Berlin-based producer Barker is confident that his intentions were clear from the start. “I never wanted to make a serious record,” he says during our phone conversation. “I wanted to do something which was a bit more fun, in comparison to what I normally do.”
“Normally,” Barker means the cold techno he makes on labels like Ostgut Ton and Killekill. His productions often take on a militaristic tone, sounding like marching bands of synthesized bass drums and distorted snares leading us off somewhere unknowable—toward death, or perhaps something worse. The same can be said for his DJ sets, which are often punishing affairs where brash electronics bulldoze through the dance floor, leaving no survivors in their wake.
**RA:** Your release is called _The Tide_. What does that title mean?
**Nathan Fake:** When I was making the album, I was living by the sea for about a year. I’d visit the beach every day, pretty much. It’s really nice where I used to live—there’s a big salt marsh with birds on it and lots of trees and bushes. I was going there a lot. One day, I went to this place when the tide was out, and the beach had completely disappeared. The birds weren’t there anymore, but there were lots of people picking up shellfish to eat. On the way home, it just struck me how one moment something can be really peaceful and tranquil, and then suddenly it can become really busy and noisy because of something as simple as the tide coming in or out. That reminded me of making music in a way—you can spend all day working on one thing in your studio at home, and it’s just you sitting there working on your own thoughts. Then you go out into a club at night and play it to loads of people, who are dancing around and having it come out of massive speakers at them. It seemed like an interesting thing to me to think about while making
Experimental electronic musician and sound artist Thomas Ankersmit is set to release his second album, Fictional Occurrences in Real Time, on Editions Mego. The Dutch-born, Berlin-based producer’s first LP for the Austrian label finds him pairing his saxophone with Serge modular synthesizers and other devices.
Ankersmit kicked off his career in the late-’90s noise scene. He cut a record for the now-defunct Touch label in 2004, but he’s been primarily focused on live performance and visual arts over the past decade. His most notable work in that period is a collaboration with filmmaker William Basinski called Stenopeikon, which was released last year.
The new album is billed as an attempt to capture Ankersmit’s live performances—which are themselves largely improvised—in a studio setting. “If managed well,” he says, “this can have the effect of somehow being both spontaneous and premeditated at the same time.”
The podcast is split into two parts. The first half, recorded at the end of last year, captures a moment in time when there was an overwhelming feeling that it was the right time to put out an album. The second half, which we recorded earlier this week, looks back on the album and discusses what’s next for the band.
For those who didn’t hear it first time around, here’s how David and I described the album in our review: “The record’s best moments are marked by a rich sense of emotion and atmosphere. They combine a subtle but affecting melodic sensibility with beautiful sound design.”
We hope you enjoy listening to it as much as we enjoyed putting it together.