Archive for February, 2010

11 Questions – DJ Pierre

Thursday, February 18th, 2010
Afro Acid

Afro Acid

DJ Pierre has been taking the roof off the Discoteca at We Love… for the past 2 years. His high energy blend of afro acid, electro and techno has been honed over an expansive career, at the origins of which the creation of acid house can be accredited. A serendipitous mishap with a roland 303 led to Acid Trax, which led to acid house, which led to We Love , which led us to this interview; and for that Pierre, we thank you.

Is there one book that you have read that has been life-changing for you?

I’ve read many many books.  Mostly science fiction (I don’t dress up or anything or go to conventions but I admit that I’m a Trekkie) or I read books about interesting movies or important people.  But I’d have to say that the most important book and the book that has had the biggest impact on my life is the Bible.  I believe in GOD, I’m a Christian and a true follower.

Did your parents encourage you to work in music?

My parents always encouraged me in most anything I wanted to do.  They actually were the ones who led me to discover my love of music.  My mom always played music like Joe Tex “Do The Huckle Buck” which was one of my favorite songs as a 4 year old.  I used to dance and jump around like crazy!  My dad would play Count Bassie or John Coltrain while I would beat on boxes and pots and pans. They even bought me my 1st decks, amp, and speakers!  Only problem was that when I had got my 1st gig and I was trying to take them out of the house to setup for the gig my father said “Boy where are you going with those turn tables!”  “I said I need them for my gig.”  He then said “Well you can only take one.  The other one stays here!  We may need it”  Then I went to get my amp and speakers and my father said “Pierre, put that stuff back.  The only thing that you can take out of this house is the one turn table that’s yours and your mixer!”  So actually come to think of it, my parents bought themselves a DJ setup.  All I got was one turn table and a mixer!

How did you begin to work professionally in music?

Well my 1st paid gigs were these pool parties and Barn parties that I did in my teens.  Yes I did say “Barn” parties.  It was the big barn on this farm that we used to throw parties in and we called the venue “Da Barn”.  It seemed normal then but as I look back on it it seems really “Country” as we say in America.  But what I truly would consider my 1st professional gig would have to be the gig that Lil Louis booked me for at the Bismark Pavilion downtown Chicago.  I played for 6,000 people and up to that point the biggest crowd I played for was to about 200 people.  I was supposed to play for 2 hours but ended up playing for 6!  I never played for more than an hour before that!!  I was playing the B sides of all my records, I was playing joints off of cassette tapes as I had a pitch control cassette deck that I had borrowed to play my new tracks and those hard to find disco classics with hott edit mixes on them that I did.  I can tell you one thing about that night, the people were going crazy and they had to pull me off the decks because I couldn’t get enough!

How do you apply your past experiences to what you do today?

My family was a music family.  My father played the clarinet, my sister and brother played the trombone, and me and my oldest brother also played the clarinet.  The star of the family was my name sake, his name was also Nathaniel (that’s my 1st name) but he was called Nat.  He played with jazz great Duke Ellington on one of his albums.  So doing music was quite normal in my family.  I think I ended up being a dj because as a young kid I stumble upon pause button editing while recording music off of the radio.  For those that don’t know pause button editing is when you use the pause button on a cassette recorder to to edit parts on a track to chance how the progression of the music went.  I would mostly extend breaks, change where the chorus would come in or create an instrumental part where none existed.  I got so good that I was able to take the instrumental and add certain verse parts or just a word in here and there, in and out and it would sound like it was mixed that way originally!  So I would say that this was the main experience that planted the seed that led me to djing.  As far as producing, that was all Spanky from the group Phuture’s idea!  Before he came to me with the whole dream of making music the thought never crossed my mind!   So I thank him for that. 

Where is your current studio and what is it like?

For many years I had my studio outside of my home, but now since I’ve just moved to Atlanta I’m trying it in my home until I find a suitable place elsewhere.  So far I have to admit that I do like having my studio just a few steps away!  I mostly do all my programing on Reason and all my recording on another propellerhead program called Record.  I also have my DJ setup in the studio as well so I can do my weekly sets for my radio show Afro Acid Live on www.pushfm.com; So besides my digital mixing board and focusrite mic pre there is nothing really more to my studio.  I do have a special weapon that I use to create my music with.You know what it is?  My mind.

 'IT'S GONNA BE BOMBS GOING OFF, -BOOM-BOOM- MISSLES  FLYING!

'IT'S GONNA BE BOMBS GOING OFF, -BOOM-BOOM- MISSLES FLYING!'

How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?

Well I’ve always been good at marketing and selling myself.  Even starting out I convinced the small town I lived in to throw parties through out the year so that I would have gigs.  I was good at coming up with interesting names and group concepts to help sell records or create interest in my projects.  In 1987 I wrote a track called Fantasy Girl with “Felix The House Cat” (His 1st track) and I made up the group name Pierre’s Phantasy Club.  So what I did to promote the release was take auditions for Phantasy girls.  My plan was to have these girls walk in with me to all my gigs looking sexy in clothing that read “Phantasy Girls”.  It worked out beautifully!   The Phantasy girls even did special appearances at other events that I wasn’t even booked at!!!  All the girls and Chicago wanted to be a Phantasy girl and soon you would spot girls all around the city with their own custom made Phantasy Girl fitted T shirts! 

Now that’s how far I went to promote a record, so let me tell you how I sell a record.  In 1993 I came up with the idea for my track  ATOM BOMB: (DJ Pierre’s Doomsday Project) I was really into comic books and at the time and I heard about this DC comics character called “Doomsday” who killed Super Man.  When I finished reading the 10 or 15 comics that it took to finally get to the end I was like “Yo this Doomsday cat ain’t no joke!” i kept thinking about how fierce he was, then out of nowhere “DJ Pierre’s Doomsday Project” popped in my head!  I was like Yo, datz gonna be crazy!  So I went to London to Guerilla Records without even making the track yet and met with the owner/a&r and told him “DJ PIERRE’S DOOMSDAY PROJECT!”  His eyes went wide, then I said “IT’S GONNA BE BOMBS GOING OFF, -BOOM-BOOM- MISSLES  FLYING! -EEEERRRRRRRR- AND SIRENS BLAZING! – WHUP WHUP WHUP ” Then I said “ATOM BOMB!” “DJ PIERRE’S DOOMSDAY PROJECT!!!!”  By this time he was up out of his seat saying “I want it!  I want it!, When can I have it!”  I said “Put me in the studio and I’ll make it!”  Also that will be $5,000 please…”Cash!” Then I looked over at Felix Da Housecat and and Roy Davis Jr (I took them to Europe with me) and I give them a wink and a smile.  Outside the building I said “Now that’s how it’s done.”   Needless to say, the track was one of the biggest on his label and of that year in the scene.  So marketing yourself is also selling yourself and your ideas.  On the same trip I was doing a cover for Echo magazine and I said to them, “Yo these two Cat’s with me are my proteges.  You better snap them now so that you can be known as the 1st to have them in print because they are about to blow up!”  They put them in the mag as well with pics and an interview!!  Felix and Roy’s 1st feature is a wrap!! 

Fast forward to 2010!!   Right now I’m doing the Afro Acid thing.  My logo is the yellow Acid smiley with an afro on top, with an afro pick in the hair that has a peace sign.  I said to myself, I’m going to market this thing everywhere I go.  So what did I do, I took my braids out and started wearing an afro.  People was like “wassup with the afro?”  I just say “Afro Acid baby!”  Now when I through Afro Acid events on some of them the staff will buy wigs and wear afros!  Now people are loving my afro!  It’s become my new image.  In this game to stay relevant and on top you have to keep recreating yourself and never stop marketing yourself and continue updating your style.

How would you describe your work?

My work is like a blueprint of my mind.  It’s beautiful, strong, spiritual, and emotional.  Sometimes up lifting and sometime deep & focused.  But one thing about my music that is consistent, my music is full of life.  My muzik is my life.  For me, muzik is Life.

Who were your teachers?

GOD. JESUS, My parents, my brother Billy, Martin Luther King, Malcolm X, Ron Hardy, Marshall Jefferson, Lil Louis, Spanky, The Hot Mix 5, Jazz, R & B, Funk, Soul, Pop, Reggae, Rap/ Hip-Hop, Rock, House, Disco, Euro electronic music of the 80′s, 80′s Electro, & The World!

Your home is burgled but fortunately the culprits are caught and your possessions returned to you. What would you deem a suitable punishment for the burglars?

I’m sorry but I don’t have a cheeky answer for this question. Anyone breaking in someone’s home has got to go down hard! I would take it personally if it where to happen to me. They would have to get some jail time. Whatever the courts decide.

You have to make one species of animal extinct. Excluding insects, which species would you make extinct?

ROACHES!! I didn’t grow up with them but I’ve been to people’s houses who had em! They serve no good purpose.

If you could spend one week in any period of history, which period would you choose?

The 60′s. It would be scary because of all of the in your face racism, but I would have loved to be a part of the civil rights fight that led to change. The change that has led to the USA having it’s 1st black President in Barack Obama. Yea I would have loved to have been a part of that….but you know what, it’s still cool to be alive today to see a part of Dr Martin Luther King’s dream come true as well.

DJ Pierre Myspace

DJ Pierre Facebook

Afro Acid

International Music Summit 2010

Tuesday, February 16th, 2010

Bringing business back

Now in it’s third year the International Music Summit returns to Ibiza in 2010. The event creates the kind of atmosphere where artists like Mark Ronson and David Guetta can rub shoulders with business bigwigs such as “global directors of creative development” from companies like Coca-Cola. The IMS is pretty forward thinking in what could be a staid and starchy environment of a business orientated conference. For example, the organisers introduced a system last year where seminar audience members could vote live on issues raised and the quality of discussion by panelists. Last year 70% of those present agreed that the IMS had “made them question how their companies work.” This could be seen as testament to the IMS being distinctive as a conference. It is not simply populated by self-gratified music industry heads, neatly patting each others backs (in the surroundings of a luxury hotel on a notorious Mediterranean island.)

The Ibiza Gran Hotel in which delegates can eat, sleep and participate in seminars and events has a definite dystopian flair. Resembling a cross between a brain surgery hospital and a space station it can leave one feeling feral within it’s functional minimalism. It is a sleek and hyper-modern affair with all the trappings a ambitious five-star hotel should, mainly a fully equipped conference centre and a cocktail bar. Who are the tenants for the three days of the IMS? Leading electronic artists and representatives of some of the world’s biggest brands. The biggest. Along with a host of smaller firms, journalists, music retailers et al. I sound like a salesman, but when you get to know it you’ll see what a remarkable place the IMS is. In a way it’s an experiment in how to hothouse the future. The Gran Hotel is one of only a handful of five star hotels in Ibiza. Architectural design is always about the future; when architects plan their buildings they assume them to exist in an imagined future. Architecture is by it’s very nature, utopian. The design of the “Ibiza Gran” defines a machine, above all – for thinking in.

A Gran day out


We put faith in the ideology of progress; progress will make things better, as well as faster and smaller (or bigger depending on your value system). The current economic situation offers great potential for developing a new agenda for the transitory music industry. The fact that the discipline of music has become synonymous with the music profession and industry may have to be contested as losses and redundancies rise at major (such as EMI) and independent levels. Those of us who can remember previous recessions can also remember them as highly creative periods. The fact that musicians may have to redefine their operations is potentially a wonderful opportunity to recalibrate and reconsider who and what music is for. This could bring to life the gulf between expectation and reality that permeates the business. Freed from the limitations of treating music as a profession, it can offer us fantastic opportunities to develop narratives that can help us understand why we are doing the things we do.
Space-hanger meets medical-centre

Space-hanger meets medical-centre


In particular, these uncertain times are a blessing for the younger generation of musicians and producers. Equipped with a vast array of technical skills and understanding, they are almost certain to cope with the future. Future musicians may be jut as adept at web design, graphics and film-making as they are at producing music. Rather than shrinking away from potential difficulties, the younger generation of musicians may use information technologies to create new sites of musical endeavour.

Luckily for the delegates, this years conference coincides with the opening of David Guetta’s F*** Me I’m Famous party at Pacha and the opening of Space within a few days of each other. A highlight of the conference itself is an interview with Alexandra Patsavas. Pastsavas is a music supervisor on TV shows such as The OC, Grey’s Anatomy, Mad Men and Gossip Girl as well as the film Twilight. Other notable attendees include Grammy winners Mark Ronson and David Guetta. In the following video you can see some of the build up to the IMS grand finale which takes place in the UNESCO world heritage site of D’Alt Vila (old town) of Ibiza. Last year featured Basement Jaxx and this years headliner is yet to be announced – watch this space.

International Music Summit – Official Site

We Love Sounds – First Round Acts

Tuesday, February 16th, 2010
Head Phones

Head Phones

Along with our antipodean brethren Sounds, we are happy to announce the first release of artists set to perform at the annual We Love Sounds winter festival in Australia. With many more to come this is just a teaser of the acts we have on offer.

We love, Sounds and Finely Tuned present the 7th annual We Love Sounds winter festival, touring nationally between 4 – 14 June 2010 across Auckland, Canberra, Perth, Sydney and Adelaide. Last year’s festival saw sellout shows in all cities and the 2010 lineup truly takes the event to the next level. We Love Sounds and the Queen’s Birthday Long Weekend have a long tradition in ensuring the festival party season continues in full force, right into the middle of the calendar year. We Love Sounds is firmly established as the largest winter festival in the country. This year’s festival features two of the world’s largest electro labels each programming and hosting their own arena, as well as one of the largest trance brands in the world presenting their own dedicated space at We Love Sounds.

Steve Aoki, who destroyed Australian clubs last November with his stage diving antics, will be bringing the DIM MAK bus to town (on steroids), showcasing one of the globe’s hottest labels in a large scale festival arena format not to be missed. DIM MAK And Friends arena will include the likes of Crookers, Steve Aoki, Laidback Luke and more Dim Mak artists to be released shortly.

Canada’s Tiga, among the coolest cats in the business, will be bringing PLANET TURBO to We Love Sounds, a Turbo Records showcase of gigantic proportions, featuring the likes of Tiga, Felix Da Housecat, Zombie Nation Live, The Proxy live and more to be announced.

GOD’S KITCHEN returns to Australia after the sellout Boombox tour, this time bringing with them Markus Schultz and Gareth Emery, showcasing the new wave of super star trance DJs in their own dedicated arena. More international trance artists to be announced shortly!

Also on the bill we have Holland’s Laidback Luke, now a firm favourite in Australia, who returns for his second consecutive We Love Sounds appearance. Get Physical label bosses M.A.N.D.Y also return to Australia to promote their soon to be released artist album, and will be debuting their full live show.

Here is just a taste of the We Love Sound 2010 lineup to get your juices flowing…

CROOKERS – LAIDBACK LUKE – MARKUS SCHULTZ – TIGA – STEVE AOKI – FELIX DA HOUSECAT – M.A.N.D.Y. live – ZOMBIE NATION live – GARETH EMERY – THE PROXY live – JOACHIM GARRAUD – ELLEN ALLIEN

We Love sounds

DIM MAK

Turbo Recordings

God’s Kitchen

A Lesson In Love by DJ Mo’Funk

Friday, February 12th, 2010

Mo funk than most

Mo funk than most

With Valentines day fast approaching, DJ Mo’Funk has provided a mix which in his own words “might be good for readers of the blog to grab a listen before it’s lovin’ time”. Having just completed his first season as a regular at We Love… Space alongside partner in crime Mr Doris, Australian funkster DJ Mo’Funk (Mo Nunez) has continued on the path to a endless summer by relocating to his hometown of Sydney. In the last few months there has been quite a few happenings; a few tours across Asia and Oz with The Cuban Brothers, some highly coveted support slots throughout the New Year period with the likes of Grandmaster Flash, Crazy P, Kenny Dope and a host of others. As this coming weekend is a very special day for all lovers across the world, Mo has decided to put together a unique lovers DJ mix, something he has never done but has always fancied putting together one day, this week seems very fitting to make something like this happen! Comprising nothing but slow-jams and booty beats this will make Valentines Day just a little bit more adventurous.

Over 50 tracks in this one including Teddy Pendergrass, Erykah Badu, Prince, Marvin Gaye, Outkast and everything in between. The mix is presented by fashion and style blog HauteToday.com. The photo credit goes to Bree Kristel Clarke.

HauteToday.com

Mo’Funk – Twitter

Mo’Funk – Facebook

Jack Black – You Can’t Win

Friday, February 12th, 2010
You Can't Win

The right people are working on the wrong end of the problem

When you hear the name Jack Black you’re more than likely to think overweight, overpaid, under-talented actor come musician; when in fact you should think crook, opium fiend, vagrant, outlaw, cross-county stick up man and author extraordinaire. You Can’t Win is the 1926 roughshod autobiography of Missouri based Jack Black chronicling his life and exploits spent as a hobo and vagabond during the late 19th century to early 20th century in the american Wild West. Unlike much of the Beat Generation which followed, many of who were heavily influenced by You Can’t Win, Black tells his stories from first hand experiences having lived for much of his life on the fringes of society. From seeing a fellow vagabond crushed to death in a freight train journey gone wrong, to bribing crooked cops in order to escape from jail, Black’s tales of life on the road are fraught with angst and a stubborn resilience to the pressures american society tries constantly to enforce upon him. Told with a style seeded form a life short of education and clearly no literary schooling the book immediately drops us into the hobo underworld of the mid west. Having spent a particularly long stint in prison Black was introduced to Frermont Older, a wealthy business man who afforded Black the chance to work for his newspaper The San Francisco Call. It was here that Black began writing his autobiography with help from Rose Wilder Lane. Originally intended as a sort of self help manual for persistent criminals, Black began lecturing at prisons and reform centres across the country until in 1926 the full book was picked up by the Macmillan Company and went on to become a best seller. With a film adaptation from Robinson Devor in pre-production, the book is sure to gain more publicity which can only be a good thing for such a greatly talented and underrated author. Its also worth a note that any incarcerated person can write to the publishing company and receive a copy of the book for $10 where as the rest of us will have to cough up and extra $6. One of Black’s biggest fans was William S Burroughs who went on to write Junkies as a direct homage to You Can’t Win and wrote the introduction to its re-release.

Andy’s Science Lesson – Are You Feeling Lucky?

Tuesday, February 9th, 2010
arbers

Odds on Favourites

This lesson we take a look at the exact science of gambling and probability. Over the years people have obsessed over systems and surefire ways of beating the odds; from Rain Man counting cards in the Vegas casinos to Derren Brown beating the lottery on live tv. Obviously some methods are more effective than others; find yourself a genius human-computer like Rain Man and counting cards at the Black Jack table is a pretty safe bet. Follow the advice of Darren Brown however and you’re more likely to end up trading hand-jobs for a crack fix in Skegness; probably.

If, like most of us, you’re not blessed with a massive calculator for a brain then counting cards is probably out of the question. There are other ways to guarantee a win however. Lets take a walk to the roulette table where a bet on red or black pays out at one to one (a successful bet of £10 will win £10 plus original stake). A spin of the roulette wheel is just like the toss of a coin. Each spin is independent, with a pretty much 50:50 chance of the ball landing on black or red. Contrary to intuition, a black number is just as likely to appear after a run of 20 consecutive black numbers as the seemingly more likely red. This randomness means there is a way of using probability to ensure a profit: always bet on the same colour, and if you lose, double your bet on the next spin. Because your colour will come up eventually, this method will always produce a profit. The downside is that you’ll need a big pot of cash to stay in the game: a losing streak can escalate your bets very quickly. Seven unlucky spins on a £10 starting bet will have you parting with a hefty £1280 on the next. Unfortunately your winnings don’t escalate in the same way: when you do win, you’ll only make a profit equal to your original stake. So while the theory itself is sound, be careful. The roulette wheel is likely to keep on taking your money longer than you can remain solvent. There are more calculated ways of gambling, leaving the casino let’s head of to the bookies.

Although each bookie will stack their own odds in their favour, thus ensuring that no punter can place bets on all the runners in a race and guarantee a profit, that doesn’t mean their odds will necessarily agree with those of a different bookie. And this is where gamblers can seize their chance. Let’s take, for example, the Oxford – Cambridge boat race. One bookie may offer 3 to 1 on Cambridge to win and 1 to 4 on Oxford. But a second bookie disagrees and has Cambridge evens (1 to 1) and Oxford at 1 to 2. Each bookie has looked after his own back, ensuring that it is impossible for you to bet on both Cambridge and Oxford with him and make a profit regardless of the result. However, if you spread your bets between the two bookies, it is possible to guarantee success. Having done the calculations, you place £37.50 on Cambridge with bookie 1 and £100 on Oxford with bookie 2. Whatever the result you make a profit of £12.50. Guaranteeing a win this way is known as “arbitrage”, but opportunities to do it are rare and fleeting. The maths is easiest to do when there are only two possible outcomes, i.e. win or loose. Good places to spot possible arbs are with big football matches where bookies may favour their home team; finals are good as draws are out of the question. The next step is betting at the dogs which will tend to have up to 6 runners meaning the maths is still manageable as apposed to the horses which can have anything up to 15 riders. Online gambling has given a hole new scope to betting with people making a good living from arbitrage.

Before you sack in your day job and start your new career as a mathematician there are a few things you must first consider. Situations where arbitrage is viable are hard to find and once found the maths of calculating what bets to make is quite tricky. In order to see variable returns your stakes are going to have to be quite high, meaning if you make a mistake with your maths your losses can be high too. One massive downfall in the system comes in the bookies’ right to cancel bets. Although not a problem for your average gambler this can result in massive losses for arbers and will undoubtedly lead back to hand jobs in Skegness.

More Arbitrage Theory

Andy Warhol – Empire

Monday, February 8th, 2010

A musical event took place in New York yesterday, 8 hours of solid sound – a live accompaniment from Hanno Leichtmann, Andrew Pekler and Jan Jelenik to Andy Warhol’s Empire – a film notorious for its one, unchanging shot of the Empire State Building. The eight-hour, five-minute film, which is typically shown in a theater, lacks a traditional narrative or characters. The passage from daylight to darkness becomes the film’s narrative, while the protagonist is the iconic building that was (and is again) the tallest in New York City. Warhol lengthened Empire’s running time by projecting the film at a speed of sixteen frames per second, slower than its shooting speed of twenty-four frames per second, thus making the progression to darkness almost imperceptible. Non-events such as a blinking light at the top of a neighboring building mark the passage of time. According to Warhol, the point of this film – perhaps his most famous and influential cinematic work – is to “see time go by.”

Angry dragon

Angry dragon


The shot was filmed from 8:06 p.m. to 2:42 a.m. on July 25-26, 1964. Empire consists of a number of one-hundred-foot rolls of film, each separated from the next by a flash of light. Each segment of film constitutes a piece of time. Warhol’s clear delineation of the individual segments of film can be likened to the serial repetition of images in his silkscreen paintings, which also acknowledge their process and materials. Warhol conceived a new relationship of the viewer to film in Empire and other early works, which are silent, explore perception, and establish a new sense of cinematic time. With their disengagement, lack of editing, and lengthy nonevents, these films were intended to be part of a larger environment. They also parody the goals of his avant-garde contemporaries who sought to convey the human psyche through film or used the medium as metaphor.

The live soundtrack / concert / event kicked off the Unsound festival. Krakow’s Unsound festival is working with local cultural institutes, organizers, curators and venues in New York to produce Unsound Festival New York. This 12-day event involves concerts, club nights, specially commissioned work, panel discussions, workshops, exhibitions and video screening. It will take place across Manhattan and Brooklyn, revealing connections between music genres and audiences, ranging from experimental to club orientated music. Later this week We Love… favourite Carl Craig will be performing 
a 
live 
electronic
 
soundtrack 
to 
Warhol’s
 1964,
 Factory
 shot,
 35
 minute 
long 
silent
 film
 Blowjob 
which 
depicts 
the 
face
 of
 an
 unaccredited 
man 
as 
he
 receives
 fellatio 
from
 an
 unseen
 partner.

Other acts appearing at various venues during the festival are Untold, Petre Inspirescu, Newworldaquarium, Moritz von Oswald and Vladislav Delay.

MoMA

Unsound Festival – New York

Office Listening – #11

Monday, February 8th, 2010

office

Fix up look sharp

Just another manic Monday, I wish it was Sunday, ’cause that’s my fun-day. You can raze those lunes blues with some rocking lo-fi garage stoner-surf from Ruairi, some pretty balearica from Julie and some unapologetic classic rock and hip hop from Andy.

Ruairi…

Sleep – Dragonaut
Martyn – Seventy Four
Kyuss – (Beginning of What’s About to Happen) HWY 74

Julie…

Jason Mraz – Life Is Wonderful
Groove Armada – Paper Romance
Red Carpet – Allright (Erick Morillo Mix)

Andy…

Ali Love – Love Harder
Boston – More Than A Feeling
Jay-Z – Lucifer

Freak Show

Thursday, February 4th, 2010
The real gigolo history movie

The real gigolo history movie

Helmut Josef Geier, or Hell as he’s now fondly known, is surely one of the most stylish men in dance music. An icon in his own right, his recent collaborations on his much acclaimed Teufelswerk album with P Diddy and Bryan Ferry only accentuate that which we have always known, Hell is a true International Deejay gigolo

Freak Show was released in 2005, eight years after Hell founded IDG in 1997, to celebrate the label’s 150th release. Five years on this ~70min DVD is still as entertaining as ever, providing a great insight into Hell’s life on the road and life as a label manager. The DVD also features archive footage from some of gigolos early artists including a very early Miss Kittin and The Hacker live show and the hedonism of a Fischerspooner concert. Following Hell’s freak show around the world were taken to a Detroit that looks “like Bavaria, just flat with bigger trucks”, to a conference hosted by Hell in Mexico, to the madness of the 2000 Love Parade and finally to the unadulterated carnage of Sonar Sunday. Along the way Hell provides us with stories of how he started the label including how Jeff Mills gave him some of his unreleased material for free “if it would help get things started”. We’re also told about how Arnold Schwarzenegger tried to sue Hell for 40,000 german marks for using a photo of him as the Gigolo logo. Freak show comes across as more than a simple documentary about a dance music label; the footage seems very personal and uncontrived giving a small peak into what is clearly a very loving but dysfunctional family.

Vitalik003

Wednesday, February 3rd, 2010

we are vitalik

we are vitalik


Monday saw the release of Vitalik003 – Gobi’s Paradise, by We Love… resident Jem Haynes and Jamie Funk. This is the first time Vitalik has released the pair’s work but the connection between Jem and Vitalik goes back a long way. Jem has kindly taken the time to answer a few questions about this release; being the busy man that he is we don’t often get to speak to him so we took the chance to see what else he has been up to over the winter.


Having lived in Ibiza for the course of the summer and being a weekly resident for We Love.., what were some of your highlights?

The first one that sticks in my mind was closing The Terrace after Steve Lawler, that was something I will never forget and hopefully one to be repeated this summer. Also playing before Martin Buttrich doing his Live show in the Redbox was also really special for me as he is in my opinion, the best producer out there! Lastly, as it was the last sunday of 2009 for me in Ibiza, was the joint closing of We Love and Space. Thousands of people, loads of rain and everybody raving hard well into the early hours….SPECIAL!

A real Jem

A real Jem

What have you been up to since you left the island?

I have been working on two new projects in the studio aswell as continuing to play gigs in as many weird and wonderful places as possible. The first project is an artist album with my studio partner Jamie Funk and also a Live show that will follow on from the album. The second project Im working on is called Loop and that’s alongside Martin ” DJ Smut ” Wood from Chew the Fat! and Redbox fame.

What is your relationship with vitalik?

I produce for their record label and am a resident DJ alongside Ryan O ‘ Gorman for his Burlington Project parties @ We Love aswell as us being villa housemates. I work in the Vitalik studio during the week, while Ryan floats around the swimming pool in his Samalian pirate style Dinghy, plotting to take over the world!!

What can we expect from this release?

I think there’s a good variety on this EP and we are all really excited about it. “Rogue Spirits” and ” Kingdom Come” are both Groovey/Techy numbers that really work the dance floor everytime I play them. I have also done stripped down DJ tools of these two tracks for those that like to get stuck in a loop! Gobi’s Paradise is very percussive, there is so many random percussion tweaks in there I don’t think we could make another track like that if we tried. The Inxec remix has got people talking about summer Terrace Anthems already. The bass hook on this is so catchy it will have you whistling in the shower for days!

Do you have any more releases planned in the near future?

Yes like I mentioned before I have just finished an artist album with my studio partner Jamie Funk due for release on 1Trax in April so keep an eye out for that… We also have our “Gobis Paradise EP” out now on Vitalik aswell as ” Final Frontier ” out now on MN2s records. One for the future to look out for is Loop recordings, the forthcoming label from myself and Martin ” DJ Smut ” Wood. We have got some great music lined up for that!