Posts Tagged ‘Carl Craig’

Mark Broadbent: How To Get Booked At Space Ibiza

Wednesday, July 28th, 2010

By guest writer Jonty Skrufff, join him on facebook here.

Ten years after he became the head booker at Ibiza’s most credible and critically important party (We Love) at the island’s most influential venue (Space), Mark Broadbent‘s advice for landing a gig is impressively (if deceptively) simple.

“Make friends with us,” he recommends, “reach out.”

Well aware of We Love’s career boosting potential he’s equally conscious that every new booking means an established player loses out, a side of his job he admits continuing to find more than a little tricky.

“It’s a terrible thing to have to do to tell someone you’re no longer booking them and over the years I’ve dropped quite a few acts who were mainstays of our programming back in the day,” he admits.

‘You’ve got to remember that most of these people have become friends but at the end of the day you’re not doing anybody favours by just booking them for the sake of it. Everybody can tell when a booking has been made for those reasons. Still, it’s the worst part of the job and it keeps me awake at night sometimes,” he admits.

Pursuing a policy of mixing big name ‘underground’ names (this season’s stars include Carl Craig, Claude VonStroke and Joris Voorn) with rising talent (notably Deepgroove, Berghain’s Marcel Dettman and Jesse Rose), We Love is broadly centred around techno, though Mark’s keen to avoid being pigeon-holed by genres.

“We book acts from all four corners of the globe and given that we have six rooms to program you can often find lesser know genres like dubstep, for example Appleblim – being played in the club at the same time as big room house, for example by someone like Steve Lawler,” he points out.

“Music is our passion and we hunt it out in the best venues and parties and try to replicate what we experienced through our programming here at Space. This has also helped keep our parties very cosmopolitan in terms of our customers.”

He’s also impressively unflustered about the actions of rival Balearic clubs such as Pacha who made a dramatic move this season booking minimal / deep type Luciano for a season of Sunday night affairs.

“After 15 years living and working on Ibiza I have found that people who like to go to Pacha will go there but on the same token, if you don’t like Pacha for one reason or another, no DJ booking is going to make you go there,” he says.

“I think maybe we have lost the odd soul to Luciano this summer but if you’re a regular customer of ours, there is no competition really.”

Jonty Skrufff: What’s your take on 2010 so far: business as usual? Are there any significant trends you’re noticing and/ or pushing?

Mark Broadbent: “Attendance to We Love has been pretty much the same as last year, the numbers aren’t amazing but the parties have been fantastic. This summer will be a hard one again for many and the World Cup hasn’t helped but I’m sure all the main players on the island will see a big jump in numbers over the next few weeks. We don’t really do trends to be honest which is why we are still at the top of our game; keep the quality high and avoid all trends!”

Jonty Skrufff: How are the Ibiza authorities these days: towards clubs and Space in particular? Do they still mount drugs raids on clubbers approaching the club or monitor your closing times closely?

Mark Broadbent: “We have absolutely no problems with them as we stick to the rules in place. We don’t sell drugs behind the bars and we close when we are supposed to. The police here are not interested in people taking a few pills in to the clubs for their own consumption they are looking for dealers and they generally have an angle on this.”

Jonty Skrufff: Fabric owner Cameron Leslie talked this week about London nightlife being affected across the board by massive unemployment amongst the under 25s, how much do you believe Ibiza is immune to economic pressures afflicting Spain / the rest of the world?

Mark Broadbent: “It’s not, many businesses here have been massively effected and the number of tourists this past two years has fallen by over 30% in some sectors.

Jonty Skrufff: He also talked of the need for some ‘very grown up conversations’ about DJ fees with agents/ managers (‘the reality is that, the artist fees that are being asked for don’t go hand-in-hand with dropping attendances’): are you already having the same conversations? or planning to?

Mark Broadbent: “Good luck to him, although he is in a good position as one of the only big room venues in London that acts really want to play at so maybe he stands a chance of lowering fees. We have had this conversation once with a big act that we occasionally book and were very pleasantly surprised with the answer although it’s not something I’m going to make a habit of doing and I would certainly not make a point of doing so across the whole field of acts that play for us. It is easier for us as we have only 16 weeks in which to host the parties at Space so we can plan for most eventualities and figure this into our budgets, a weekly party year round party has its own ongoing budget problems that differ from ours.”

Jonty Skrufff: You spoke to AddictedToIbiza last year who recently described San Antonio as ‘ex-pat English wasteland in the sun’ populated by ‘chavs, teenagers, washed up ravers, has-been English DJs, first-timers’: how much time do you spend in San An personally?

Mark Broadbent: “I go there for bacon from Pete the Butchers once a month in winter and there are a few very nice beaches hidden in far flung corners that way that I’ll visit occasionally in autumn. Outside of the occasional visit to Ibiza Rocks in summer I stay away from San Antonio not out of any fear of the place but there is simply no reason to go there if you live in Ibiza Town as I do.”

Jonty Skrufff: Their use of the term ‘has-been English DJs’ seems a little cruel, how difficult is it for people to stay on the island once they’ve passed their peak in career terms?

Mark Broadbent: “Ibiza is certainly a cruel island to be on if your star has dwindled. However having said that if you’re willing to get stuck in there is always work to be found. It’s ego dependent.”

Jonty Skrufff: What did you do before Space? What was your route into club culture?

Mark Broadbent: “I was a refrigeration technician back in the real world. I worked as a sub contractor for two large breweries for ten years then decided that was not what I wanted to continue doing so left for India as many do to try and find out just what it was I wanted to do with myself. I came home a year later to find the country in the grip of the first recession so there was no work in the field I came from which turned out to be actually a fucking blessing. Anyway, misadventure and good luck in the shape of (We Love chief) Darren Hughes prevailed. Darren was looking for somebody to run his affairs in Ibiza for Cream and we – myself and my wife Sarah – were looking for a job we could do for four months of the year enabling us to travel for the rest of the time. That was 12 years ago.”

Jonty Skrufff: Why aren’t you a DJ yourself?

Mark Broadbent: “I’ve always been a huge music lover so for me this job is really an extension of what I love. Programming the nights musically means I can have a certain amount of input into the whole venue. I have been asked many times to DJ at ours or at other people’s events but to be honest I could never be a performer. To stand up in front of a crowd and be judged, the thought of it makes me feel sick. I prefer to be in the background controlling things out of sight.”

Jonty Skrufff: In the AddictedToIbiza article you also recommended bringing lube (lubrication) to Ibiza why, can’t you buy it on the island?

Mark Broadbent: “Because it’s a small island and there’s only so much to go around! This comment is a little out of date now as it goes. Since I first made it – as a joke – Durex have introduced their own lube and toy arm to the company and you can now buy lube and vibrators in most of the chemists on the island. How times change. I can remember not so long ago when it was impossible to buy condoms in Spain.”

Thanks Skruff, view the original article here.

Francesco Tristano & Carl Craig – The Melody

Wednesday, July 14th, 2010

By all accounts there is a special moment predicted for the Discoteca on Sunday. Endearing innovator Carl Craig will be joined by neo-classical collaborator Francesco Tristano for an exclusive live performance involving a grand piano, moogs and a juno. An electronic-meets-acoustic showcase for our post-digital age. To get an idea of what to expect, check out the video below…

11 Questions – Simian Mobile Disco

Wednesday, June 30th, 2010

Jas and James

Although the origins of Simian Mobile Disco lie in the relatively prosaic rock n’ roll territory of a bust up of indie band Simian at a fish restaurant in Texas, the depth and breadth of James Ford and Jas Shaw’s passion for electronic music is apparent on listening to their diverse but focused catalogue.

Below is a mix James and Jas have given us for our soundcloud page. We hope it’s a good indication of where their “wobbly, psychedelic, atonal techno” will be going this season, both on the Terraza and in the Discoteca. It’s apparent on listening how their sound has developed from “hip-house crunkadelic poonstep” to a love of unadulterated, long-form, four to the floor acidic beats.

SMD will be releasing a series of 12″ singles on their new imprint Delicacies. Each track in the Delicacies series “will take the name of an exotic, and often bizarre, delicacy from around the world.” The first release is Aspic / Nerve Salad a set of driving instrumentals, dark beasts with enough futurism to keep your brain occupied.

You will find Simian Mobile Disco playing an exclusive residency in Ibiza for We Love at Space this summer on the following dates – Sunday 4th July, Sunday 8th August, Sunday 5th September and Sunday 19th September. They bring an infectious brand of hypnotic minimalism meets maximal electronica and their sets are guaranteed show-stoppers from start to finish. So come on down for an act you won’t find anywhere else in Ibiza this summer.

You’ve got something to do while you listen, take a read of SMD answers to our 11 Questions. James and Jas, over to you…

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

James: The first book I really remember having and impact on me was The Twits by Roald Dahl. It was gruesome and funny and really opened up my imagination as a child.

Jas: Über Sinn und Bedutung by Gottlob Frege is one of the most interesting books I’ve read. Not exactly a page turner but it outlines an alternative logic to that set out by Aristotle. The paradigm is not without it’s flaws but it was instrumental in opening up enquiry into the basic logic of language and meaning rather than assuming it to be sound.

Did your parents encourage you to work in music?

James: There was always a lot of music in the house when I was growing up and my parents forced me to learn piano, which I hated but now I’m thankful for. My dad played in a band so there were often instruments around the house that I could learn on. I was playing in a band by the age of ten so my parents had no option but to support me, although they often asked when I was going to get a “proper job”.

Jas: No, quite the reverse. In fact they still ask me when I’m getting a proper job. Slightly annoying but I can’t really blame them, the music industry is irrational and unfair and not something that you would recommend anyone to get involved in. That said, I love making music and never forget what a privilege it is to be paid to do something that you love.

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

James: The good thing about music is that you can never totally figure it out. It’s black magic. Every day you learn something new which you apply the next time you make music but just because something worked once, it doesn’t mean it will work a second time. The more experience of making music in different circumstances, with different people, the better. Every day’s a school day.


How did you begin to work professionally in music?

James: I have played music from a young age and been in many different bands ranging from a 20 piece Sun Ra type outfit to playing in clubs. The first time I earned decent money was probably when I started drumming for 808 State in Manchester, although I was still at college. I suppose I became “professional” when our band Simian got a record deal after college?

Jas: I’ve been making music since I was a kid, playing violin then guitar and keys in bands. At college I got into recording and James and I started building a studio with some friends. The first time I could really have been called music my profession was when Simian got signed but I had been doing music seriously for many years before that.

Where is your current studio and what is it like?

James: The studio where we make SMD tunes is in Hackney. It’s a room basically filled with analogue synths, drum machines and odd sound processing boxes we pick up on the way. Each bit of equipment has a quirk or an interface that alters the musical decisions you make at every level. We have a computer but we try to use it like a tape machine. Most of the sounds are made with real machines and our hands. I think it makes you use a different part of your brain than when pushing a mouse around?

Jas: It’s slowly grown from a dodgy computer and an old mixing desk with a few guitar pedals in a bedroom to a rented room in a rehearsal studio with pro-tools, a vocal booth, tons of synths and some nice bits of outboard and a better mixing desk. Many of the old guitar pedals that we started off with still get a lot of use though and I still think that a bedroom studio is a valuable thing. All the fancy gear in the world is no help if you can’t get at it when you have an idea in the middle of the night.

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

Jas: We don’t worry too much about marketing, I’m still a fan of the idea that good material sells itself.

James:I think any modern musician is aware of marketing to some extent. It’s hard not to be. There is a danger of being too self-aware though. I’ve been in a few situations where trying to second guess peoples expectations is detrimental to the music making process.


How would you describe your work?

James: When we started SMD we were aiming to make “good old fashioned analogue party music”. We have strayed through many genres including electro and pop but at the moment we are aiming to make techno. Wobbly, psychedelic, atonal techno.

Jas: I feel lucky to say that my work involves messing around in studios and then playing the results in some of the best clubs around the world. It really is fantastic and I don’t take it for granted.

Who were your teachers?

Jas: There was a shop in Manchester called Pop records and the guy in there recommended me a new record every week. Some I liked immediately, some it took a while to get my head round. He got me into many great bands, nice second hand vinyl copies as well.

James: Lots of people have inspired me. Some of them I have met, some I haven’t. The ones that come to mind are: Joe Meek, Brian Eno, Phil Spector, Graham Massey, Conny Plank, Rick Rubin, Vangelis, Aphex Twin, Oliver Huntemann, Carl Craig, Moondog, Prince, Raymond Scott, Delia Derbyshire, Sun Ra.

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?

James: It really depends on the situation, what was taken, was any violence used, what were their motivations? To a certain extent, it someone was desperate and trying to feed their families then you wouldn’t want them to be severely punished. I would leave it to a judge and jury. Someone who spends their whole lives trying to administer fair punishment is surely in a better position than me to decide what should happen.

Jas: They’d have to wire my studio back up.

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

James: Excluding insects makes it difficult, as I would definitely get rid of wasps. I hate wasps. Pointless, spiteful creatures. I’d maybe get rid of rats instead then?

Jas: Let’s go for chickens. A strange choice you might think but lets face it, everything tastes like chicken; we are not going to miss it. Yes, eggs are nice too but other animals lay eggs and they are just as nice.

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

James: I reckon the week leading up to man landing on the moon would have been pretty exciting. That, mixed with the late sixties cultural explosion and acid would make for a pretty fun week.

Jas: Quite probably a week working at Moog Music in the 60s, tinkering with synths and establishing the logarithmic 1-volt-per-octave pitch control and separate pulse triggering signal.

Many thanks to James and Jas for taking time out of their hectic schedule to answer our 11 Questions, check out below to get an idea of the kind of thought process which goes into every aspect of their work…

Simian Mobile Disco – DJ Profile

Simian Mobile Disco – Official Site

11 Questions – Hot Chip: Felix & Al

Saturday, June 12th, 2010

Grown Men

Due to their busy live summer tour schedule with Hot Chip, We Love… Space Ibiza will be the only place you can hear Felix & Al DJ this year, making their summer debut tomorrow night. Over the past few years they’ve really grown into the notoriously discerning Terraza and took to the Discoteca como pez en el agua. Through Hot Chip they’ve cultivated a balance between accessibility and high-concept pop music while through remixes and side projects kept a foot firmly planted in techno. Currently working on a number of projects, Felix & Al’s latest venture is Grown Men. It seems they will be using the moniker for their more rarefied 4/4 leanings. Their website is reassuringly sparse for a new undertaking as is their twitter, saying in the description: “Al Doyle and Felix Martin are Grown Men. We are DJs & producers who play techno and house music. We also play in Hot Chip.”

A recent aural highlight that has been on rotation on the office gramophone is Carl Craig’s remix of the title track from their latest album One Life Stand, check it here. It’s a genuine pleasure when high calibre artists from the We Love stable get together for a collaboration, especially when it’s as rolling, squelchy and punchy as this. One wonders how they met, maybe over a hierbas in El Salon

You’ve got three opportunities to catch Felix & Al DJing anywhere in the world this year, and it just so happens they’re all in the hallowed walls of Space for We Love. They’re guaranteed to rock the house but the choice cut would probably be our opening party tomorrow on June 13th. They’ll be back on July 11th and September 5th incase you can’t make it to the white isle tomorrow.

Below you can check out a mix they’ve sent us to start the summer with and probably a good idea of what to expect on the terrace this year. Below the mix are Al’s answers to our 11 Questions.

Starting Summer 2010 Mix by Grown Men

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

And I can’t say the Bible, right? Ok, seriously not the Bible… Erm, well since me and Felix’s new project (coming late 2010 possibly) is called Lanark, then I should probably say the novel Lanark by Alasdair Gray, a pretty crazy book about a young artist in real and fantastical worlds.

Did your parents encourage you to work in music?

My mum bought a piano for the house when I was 4, so that was definitely an encouragement.  She also told me not to become a teacher, so I kind of took that as the green light to try to make it in pop music.

How did you begin to work professionally in music?

I used to do workshops with kids in composition and music technology amongst other bits of work, and then when we got signed as Hot Chip I jacked in whatever various day jobs I had and started making music full time.

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

Like any other learning machine I suppose… Coffee hot, don’t gulp down coffee straight away; Girl like nice smell, take shower before speak to girl; Ibiza people like when big bass drum go away then come back, take away bass drum then bring bass drum back.


Where is your current studio and what is it like?

Our current studio is near brick lane in east london, and it’s somewhere between a pro studio and a home studio – what Sound On Sound Magazine has taken to calling a “hybrid” studio.  It’s dark and windowless, in classic studio style, and it is pretty much home to our engineer Tom Hopkins, who maintains our wide array of sonic toys.  It’s basically one big room with loads of stuff in it.

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

Not much. We all have side projects to scratch the itch of our more esoteric musical leanings, and with the Hot Chip project we’ve been left alone by and large… I mean, when it comes to the album launches then there are various hoops we have to jump through, but that doesn’t really affect the music on the record, over which we have complete control.

How would you describe your work?

Pop music.

Who were your teachers?

Brian Eno, John Cale, Carl Craig, Dominik Eulberg, John Tejada, Leonard Cohen, Devo, Demis Roussos, John Dahlback, Jamie Principle, J.S. Bach, Robert Wyatt.

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?

Burglars round my area?  I think the crack withdrawal will be punishment enough…

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

Obviously humans, but if not us then it’s gotta be wasps.  Just don’t need wasps.

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

Ancient Egypt, as long as I was Pharaoh.

Many thanks to Al Doyle for the words and both Felix and Al for the mix, check out their new website here. You will find links to their blog, soundcloud, facebook and all that jazz. The tracklist for the mix above is as follows:

Nicolas Jaar – Mi Mujer
Santos Resiak – Carnival
Aki Bergen – Freak Out / Rescue Me
Pol On – Poloniusz Style
Mark Broom – Supersnout
Butch – Joy
Adultnapper & Mr C – Keep Off (Wighnomy Brothers)
Filthy Rich – Deeper
Sascha Braemer – Dirty Talk
[e]rik_Mnml – Lump
Alex Celler – Isolade
Makam – Hide You
Dimitri Andreas – Snickerz (Santos Guardingo Remix)
Walls – Burnt Sienna

Hot Chip – DJ Profile

Hot Chip – Official Site

We Love… Space 2010 Summer Preview

Thursday, June 10th, 2010

A short preview of the artwork, music and artists to expect this summer – at We Love… Space, Ibiza. Music from Omar, Henrik Schwarz, PBR Streetgang and Soul Clap & Catz n Dogz as Clapz n Dogz.

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 – #8

Friday, January 15th, 2010

Knob heads

Knob heads

Andy is harking back to some summer highlights for his selection this week. Julie goes vintage and sophisticated. Ruairi balances cascading classical and electronic chords with some rip-roaring 60s rhythm and blues.

Andy…

Zombie Nation – Kernkraft 400
Grace Jones – Warm Leatherette
Robert Babicz – Dark Flower (Joris Voorn Magnolia Mix)

Julie…

Felix Da Housecat feat. Miss Kittin – Madame Hollywood (Ursula 1000 Remix)
Frank Sinatra – New York, New York
Ian Brown – Superstar

Ruairi…

Howard Shore – Crash
Carl Craig – At Les
Yvonne Caroll and The Roulettes – Stuck On You

Office Listening – #7

Friday, January 8th, 2010

Work sets you free

Work sets you free

Mark and Sarah are volcano hunting so this week it’s left to, Andy going classic, Julie getting sentimental and if you can spot the underlying theme in Ruairi’s choices you win a biscuit!

Andy…

Squeeze – Take Me I’m Yours
Faze Action – In The Trees (Carl Craig Remix)
La Bionda – I Got Your Number

Julie…

Pep’s – Liberta
Jeff Buckley – Hallelujah
Paul Woolford – Surrender

Ruairi…

Killing Joke – Eighties
The Vaselines – Jesus Wants Me For A Sunbeam
Meat Puppets – Lake Of Fire

Etienne Jaumet & Carl Craig – Night Music

Thursday, December 3rd, 2009

You may have noticed a lack of specific music reviews on the blog so far. This is because they are generally completely superfluous and can infact malign the actual enjoyment of music. So please understand the following is a recommendation: Night Music – a Steve Reich-inspired, five-track album of “loops and hypnotism” performed by Etienne Jaumet and produced by none other than Carl Craig.

Cascading compositions

Cascading compositions

It may look like the ultimate safe bet, Carl Craig being one of the very few unshakable pillars in modern electronic music making, but Carl did a lot more than simply mix the album. He based his work on a common musical culture. Long talks with Etienne about Liaisons Dangereuses proved once again that Craig is the most European of all the Detroit producers. He ripped the heart of the record to bring it to its full Electronic and Psychedelic life. Without adding anything but magic, Carl Craig took what Night Music was already was and enhanced it. – Ivan Smagghe

One half of French horror-disco outfit Zombie Zombie has joined iconic techno producer Carl Craig for a collaboration that may at first seem unlikely. However, anyone who has witnessed any of Carl’s galacticly epic sets this summer at We Love… Space in Ibiza may not be so surprised. This collaboration between Etienne Jaumet and Carl Craig indulges in their jointly held passion for synthscapes in a pinnacle of elegant Paris meets Detroit electronica. The opening track “For Falling Asleep” takes 20 minutes to reach its goal – a climax of astral proportion. The joy Jaumet’s exploration in this journey takes, with wistful saxophone and gentle but insistent machine rhythms “directed and imagined” by Carl Craig. This deceptively minimal epic subtly informs the listener of what is to come over the next 4 songs – tightly wound but seemingly infinite in their scope. There is a patient process at work in the construction of each track. Jaumet’s writhing, eerie synths are warped and manipulated between what sounds like bagpipes and Middle Eastern strings and horns. The autobahn-ready metronomy of the pulsing dance groove provided by Carl Craig gives way to melodic noise and anthemic classical sections with ominous significance. There are also peaceful acoustic touches which are soon swallowed up by crashing waves of sound. On the whole, it is a dark but enchanting piece of work.

Buy it on Boomkat

Buy it on Phonica

Carl Craig – DJ Profile

Carl Craig – Myspace

Etienne Jaumet – Myspace

11 Questions – Carl Craig

Thursday, November 12th, 2009
Carl Craig

Curious Carl

To get the ball rolling on what will become a regular feature on the We Love… blog. Man of many monikers, Carl Craig takes time out of his busy schedule to answer 11 pertinent questions posed by our interrogator in chief. If you have the time (and money) check out his newly released box set, The Legendary Adventures Of A Filter King. Including Planet E’s first release titled “Four Jazz Funk Classics,” which Carl Craig recorded under the pseudonym 69. This album set the standard for what was to follow in Planet E’s history. In addition, it set the stage for listeners to prepare themselves for the unique and undeniable sound the label would become synonymous with, a sort of “futuristic funk” that remains true to its techno roots, while redefining the genre as a whole.

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

A. Dirty Havana Trilogy. Lots of sex and alcohol!

Q. Did your parents encourage you to work in music?

A. No. They wanted me to work at the post office. Now my dad is very supportive. He works for me.

Q. How did you begin to work professionally in music?

A. I met Derrick May in 1988 with a demo. Actually a bunch of demos over a bunch of time. If I’ve learned one thing, persistence pays!

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

A. N/A

Q. Where is your current studio and what is it like?

A. In Detroit. I have mostly analog keyboards, a mixing desk and lots of vibe. Actually the vibe is more like a science lab!

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

A. I’ve gone through all of the marketing ideas for a small label and since I’m no specialist I just release music and let the people enjoy.

Q. How would you describe your work?

A. Heavy

Q. Who were your teachers?

A. Time and experience.

Q. 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?

A. Slavery.

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

A. Possums. They’re ugly fuckers.

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

A. I would go to the time of Casanova and would be his rival.

Carl Craig DJ Profile

Planet E Records

Discography