After a few years absence from the Manchester party circuit we are very pleased to be back at The Warehouse Project hosting something of an Ibiza closing party. For this special event we have invited some of our favourite acts from this Summer’s Space residents and guests.
Now in his tenth year as a We Love… resident, technical maestro James Zabiela headlines the event. Joining him is the true godfather of techno Derrick May. Nic Fanciuli makes a welcome return to the We Love fold and is joined by Ralph Lawson’s full live band 2020Soundsystem. Next up we have Geddes and newly initiated We Love resident jozif. Completing the line up Jem Haynes and Mat Playford bring the sounds of the Space Discoteca and Terrace respectively to the Picadilly car park.
Estamos complacidos en anunciarles el lineup de nuestra fiesta de apertura de We Love…space, el domingo 12 de junio de 2011. We Love es única en Ibiza, con seis pistas de desenfranada exploración musical. Sigue los links de los artistas para videos, mixes y mucho más.
Seguir @welove_music en twitter para actualizaciones.
La fiesta de apertura de este año se plantea como la que definirá la temporada de Ibiza, ya que We Love… Space celebra los 20 años de Planet E. Pocos sellos discográficos han logrado superar la prueba del tiempo, y de haberlo hecho, no han sido muchos los que han podido proclamarse tan reelevantes e influyentes como lo fueron ellos,hace veinte anos ya. Planet E, no solo ha sobrevivido los ultimos 20 anos,sino que sin dudas se ha deleitado a lo grande durante los mismos. Al cerebro del techno de Detroit Carl Craig se le sumara Derrick May y Paul Woolford, quienes recientemente han realizado lanzamientos explosivos en el sello. Estos cerebros tambien estarán acompañados por el residente semanal de We Love Jem Haynes, quien tomará el control de la Discoteca y hara una inusual y prestigiosa sesión solo de vinilo, para celebrar este acontecimiento de la discografica.
Mientras tanto, la mundialmente famosa Terraza de Space tendrá de invitado a James Zabiela exibiendo su sonido house para el 2011. Los DJs de Hot Chip, Felix Martin y Al Doyle regresan para la primera de sus tres exclusivas fechas como residentes y Heidi, la favorita de “In New DJs We Trust” de Radio 1, traerá el sonido ‘jackin’ con el apoyo de Made to Play’s Jesse Rose. A continuación tendremos a la apuesta de We Love Mat Playford, haciendo un show en vivo de tres horas, utilizando un sistema análogo personalizado.
El 2011 trae nuevas caras para compartir esta serie de eventos de verano. El sello discografico Moda de Jaymo & Andy George estará auspiciandola Sunset Terrace antes de que el proyecto “Afterdark” de Mr Doris tome el control, luego de la media noche. Ryan O’ Gorman regresa con el Burlington Project para auspiciar doce citas íntimas en la Redbox, la pista que disfrutan entendidos locales y turistas por igual.
We are delighted to announce the lineup for our opening party, We Love… Space on Sunday June 12th 2011. We Love is unique in Ibiza with 6 rooms of unbridled musical excursions. Follow the linked names for videos, mixes and more.
This years opening party is set to define the Ibiza season as We Love… Space celebrate the seminal 20 Years of Planet E. Few labels have managed to stand the test of time and if they have, few can claim to be as relevant and influential as they were twenty years back. Planet E hasn’t just survived the last twenty years but positively revelled in it. Detroit techno mastermind Carl Craig will be joined by Derrick May and Paul Woolford, who have both recently presented the label with blistering releases. These masterminds will be joined by We Love weekly resident Jem Haynes to take control of the Discoteca for a rare and prestigious vinyl-only session in celebration of the label.
Meanwhile, the world famous Space Terraza plays host to James Zabiela showcasing his house sound for 2011. The Hot Chip DJs, Felix Martin and Al Doyle return for the first of their three date exclusive residency and Radio 1 current “In New DJs We Trust” favourite Heidi bringing the jackin’ sound’ o’ Chi’ Town with support from Made To Play’s Jesse Rose. Kicking off proceedings is We Love’s own Mat Playford playing a three hour live show using a customised analogue setup.
2011 brings new faces to share this summer’s series of events. Jaymo & Andy George’s label Moda host the Sunset Terrace before Mr Doris’ “Afterdark” project takes over after midnight. Ryan O’Gorman returns with The Burlington Project to host twelve intimate dates in the Redbox, the room for clued up locals and holiday-makers alike.
Tony Montana: You wanna waste my time? Okay. I call my lawyer. He’s the best lawyer in Miami. He’s such a good lawyer, that by tomorrow morning, you gonna be working in Alaska. So dress warm.
Elvira Hancock: Don’t toot your horn honey, you’re not that good.
Don’t get me wrong, Chi-town got it going on
And New York is the city that we know don’t sleep
And we all know that L.A. and Philly stay jiggy
But on the sneak, Miami bringing heat for real
We’re kicking off our series of Spring fiestas with a Detroit meets Ibiza meets Miami techno all-dayer. Special guest Jeff Mills and Discoteca favourite Derrick May will be joined by “innovator” Kevin Saunderson, Stacey Pullen and Octave One – live at the Shelborne on South Beach for a midday till midnight collection of some of the finest electronic DJs and producers the US of A has to offer on Sunday 13th March. Rounding up the lineup with a housier feel will be Alex Niggemann and Desyn Masiello.
Apologies for the rather long wait for part 2 of this short series, it won’t be so long until part 3 we promise. There’s not much intro needed to (cliché as it is) one of the godfathers of techno music. Incase you do, check out the informative intro in part 1. In this transcript (part 2 of 3) of a recent interview he has given to the Red Bull Music Academy Radio. Listen to the radio show in full here or download it here. The accompanying tracklist is as follows:
Jeff Mills – Landscape (Utopian Dream) – Tresor
Jeff Mills – Blue Print – Tresor
Underground Resistance – Eye of the Storm – Underground Resistance
Underground Resistance – Predator – Underground Resistance
Underground Resistance – Base Camp Alpha 808 – UR
Underground Resistance – Final Frontier – Underground Resistance
X-101 – G-Force – Tresor
X-102 – Ground Zero (The Planet) – Tresor
X-102 – The Rings Of Saturn – Underground Resistance
Jeff Mills – Perfecture (Somewhere Around Now) – Tresor
Jeff Mills – The Bells – Axis
Jeff Mills – Transformation B (Rotwang’s Revenge) – Tresor
Jeff Mills – Robot Replica – Tresor
His Jeffness
Other than my trip to Berlin to perform with Final Cut we did not have too much information as to what Europe was like. We could only hear what Kevin, Derrick and Juan were saying about what was happening in the UK, Belgium and places like that. It was the time when the invention of the fax machine had just come out, we thought that that would be an interesting way to communicate with people. So we developed a way of communicating through the fax machine by distorting letters and images. We knew early on that there was a lot of potential for a certain type of fan base so we got into merchandising and started making t-shirts. We treated that at the same level as the music – we started exploring.
It wasn’t until maybe about a year after that we had the opportunity to go to Europe together as a unit. So for a year we were working blindly, we were working off of what we imagined Europe would be like. We thought that America would be the same as Europe. We were working with Urb magazine on the West coast and Billboard magazine in New York. It wasn’t until we got a call from a guy whom neither of us really knew, we knew of him, we knew about him. Joey Beltram called us and introduced himself. He said he had just got back from Belgium and had played one of our records and it was doing really good, he had played it to a crowd of thirty thousand people and we should make more things like that. We were like, “Who the hell is Joey Beltram?”, but “OK” so we took his advice, make more things in that direction and see what happens.
Military attire in early Underground Resistance days
We found a medium of attire, which happened kind of naturally. I was dressing that way anyway at the time, some of it comes from Final Cut which was really in that direction, our attire was really more military. Some if it comes from Mike ['Mad' Mike Banks], and the job that he used to have. He used to put people out of their houses, he was part of a team of guys that used to go to a house when someone didn’t pay their bills and he would physically move the people out. So he would have to dress in that way, he wasn’t a police officer, but very close to it. He had that type of experience so we mixed it together. We were both very much into hip hop, Public Enemy and all those other things so we kind of adopted that. We got a couple of offers to perform in New York at the Limelight and a couple of other places. We thought that maybe it would be interesting to hide our faces, so that people had no idea. They wouldn’t look at us as if we were a group of black guys and the music would stand out more than what we look like. It’s America so it’s very big on pop culture, it’s very easy to conclude what we are by what we look like – this is just a country that really excels in that. We thought that by taking that away we would put more emphasis on the sound and what the music is.
Hood, Mills, Banks
Robert Hood came in, we hired him as an assistant to work within the label at administration. He was a rapper, he was a hip hop rapper at the time. So I think we somewhat influenced him when he first came, he was really into rap. We were like, “That’s fine. But your message must be positive!” We’re not into that certain type of rap. So we brought him in and he started to work for us. We set him up with his own setup to produce music. We taught and showed him how to record it how to program it. He began to work on projects with us (with Mike and I) and then eventually started his own label called Hardwax. We worked with him a little bit to get that label started and then he took it on himself. In a week we could produce maybe twelve to twenty tracks and so we decide to do something different, something we don’t remember or didn’t hear coming from Detroit at that time. Things that we more experimental. So we decided to designate so much time to producing compositions in that way, exploring and using the equipment and machines in different ways. We decided on a name of the project as X for experimental. We would treat it somewhat like a college report, your instructor would give you a subject and you would have to report so we adopted this 101, 102, 103 as if it were a paper. So the first project was X-101, there wasn’t really any concept we just wanted to see if Mike, Rob and I could work together in this way – if we were all on the same page. It went really well so we decided to create X-102. This time we had the idea that maybe this release should really be about something connected to all people, not just certain cultures. We chose the Rings of Saturn.
Derrick May has been an international phenomenon ever since he revolutionized the British club scene in the ‘80s. His music and artistry helped create the modern day clubscape. Along with Juan Atkins and Kevin Saunderson they are known as “The Belleville Three” and are universally credited as the originators of Techno. His seminal hits “Strings of Life” and “Nude Photo” are two examples of his work that took Detroit Techno and launched it across the globe to be emulated and embraced by DJs worldwide (and also earned him the moniker “The Innovator”). Transmat, the label Derrick founded in the mid ‘80s, was a launch pad for artists such as Carl Craig, Juan Atkin’s Model 500, Stacey Pullen, Kenny Larkin and Joey Beltram to name a few. Derrick continues to be a massive club draw in every major market in the world.
Is there one book that you have read that has been life-changing for you?
If I have to choose one, I will say the Third Wave (by Alvin Toffler).
Did your parents encourage you to work in music?
They encouraged me to do whatever I wanted to do… it turns out being music.
How did you begin to work professionally in music?
In the school, with Juan and Kevin.
How do you apply your past experiences to what you do today?
I don’t do this consciously, it just happens, but I know what ever I do today is someway shaped by what I was doing yesterday.
Where is your current studio and what is it like?
Innovator
As always at Transmat, in Detroit, its like chaotic fun mix of wires, tapes, and films.
How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?
No one can deny marketing issues are a part of the game and you better learn to deal with them, but I keep it separated from my career as an artist. My mission as an artist is to be creative, not to be marketable.
How would you describe your work?
Edutainment, I educate people through entertainment.
Who were your teachers?
Juan Atkins learn me how to make music
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 will lock them in my studio and let them hear “I will always love you” by Whitney Houston a whole week, the whole day long.
You have to make one species of animal extinct. Excluding insects, which species would you make extinct?
Rats.
If you could spend one week in any period of history, which period would you choose?
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.
