Jeremy Jay

Drunk? Stoned? What was it?
Questions we had to think about while enjoying a free beer and Tom Tom Club in Cologne's “King Georg”.
It was Saturday, 14th of February when we got to know the promise of a nice indie-new wave-disco concert (concert: analog and instruments and stuff) by Jeremy Jay, hailing from L.A., California.

Jeremy attracted our interest through his superb down-tempo cover of Suicide's Ghostrider and after further investigation we did not hesitate to arrange an interview for after the gig when the cologne-show was announced.
It led us down to the lowlands of our belief and “King Georgs”, right into the storage cellar where I once more pulled out my ancient recorder.
We thought about not posting the following, but for various reasons we did. Everything is literally typewritten. We did not change or cut a word.
Find it whatever you want. Funny, sad, confusing, annoying...




What we're planning on doing with „Ghostrider“ is to put it on a b-side...of something...I don't know.
Actually we have a session tomorrow in Amsterdam.

Oh yeah, you're playing in Amsterdam tomorrow. Where are you playing?

I don't know how to pronounce it...but we have this session there tomorrow...but it's probably going to be on a b-side of a 7” or 12”.

That would be cool. We're so much into vinyl you know. CD doesn't mean anything to us.

Not more than MP3.

Sometimes...I don't know...that's the thing. Like our new record “Slow Dance” has been downloaded for free so many times. (weird noises) Well, I mean I'm saying it's not even out yet till next month.

You just sold it.

Well, because I had one copy. I have one and she asked me for it, I was like: “ok”. But we will have a “Slow Dance” Record-Release-Party in Paris on March 14th. That's a secret show. Record Release!

Where is it?

Fleche D'or. The show is gonna be...sold out. I mean it's gonna be packed. A good show. You should go!

Ok. Actually, how does it come that you do, you know, so many 80s New Wave Covers?

I did New Horizon, Ghostrider...

New Horizon was originally by?

Section 25. That's on the CD that you didn't get. (Hilarious laughter)

Yeah.

Yeaaaah. But it won't be on anything else. I mean it's not going to come out.

But how come that you do this kind of stuff?

I make CDs that are handmade.

Yeah, yeah. Ok.

That are special. Not through a record label. I make it personally.

Yeah yeah ok, cool, but...

And that is made for a tour you know...we probably got bonus songs like stuff that we just do and...the CD is this record plus 6 songs. Like “Jeremy's On Fire”, a Brian Eno cover, Section 25 cover, Blondie cover...

Yeah but what I wanted to know is...this kind of 80s new wave stuff is one of you big influences or how does it come that yo do these ones?

The way that I did the “ghostrider” was...I was listening to the record and then I slowed it down four times. You know : danananananana and then: den den/den den/den den/den den

Sounds like B52s.

Ja. den den/den den you know like the “Planet Claire” record. Yes I guess you can almost compare it to “Planet Claire”...Almost. But not.(laughter) ...But for no reason, I mean, a year ago I was doing more show tunes like “You are My Lucky Star” from the movie “Boy Friend”, MGM 1971 I covered it on another tour-cd. More romantic stuff. And this kind of stuff was more for shows. You know, you can play “Ghostrider” for show and it's fun. But stuff like “You Are My Lucky Star”...we played it one show at “The Smell” in L.A...like in 2007...and that was on another...I mean I do a lot of covers all the time.

Why is it so?

I don't know. I get inspired to. I mean I did a Section 25...one that isn't released...”Looking From A Hilltop”...

I know that song.

Well I did that one and “New Horizons”...

Yeah yeah but what is interesting to me that the songs in their original form are quite different from what you are actually playing.

Well the way that I play “Ghostrider” and the way that we were there is on “Slow Dance” and like other songs that we play live is similar the way I play it. It goes together in a show you know.
And tonight we did “The Living Dolls” with just a guitar and that to me is special to me like that's where I come from. I love the dancey stuff but I also like to rewind and backup and be serious. (laughter).


I also recognized you often got disco beats in the background. The drummer plays this disco kinda thing. One of your influences?

Mhm...

You got a synthesizer...

I think the new record “Slow Dance” has a couple of disco beats.

Where does that come from?

I don't know. 70s....

You're into that kind of stuff?

Oh yeah. I've got hundreds of records. Vinyl (laughter).

What's your favourite artist of that era? Late 70s / 80s.

I like Pop Music. One of my favourite bands of Pop from the 70s is definitely...

(One of the Clubs employees now enters)

“Hallo.”

Hallo.

“Beautiful concert.”

Thank you so much.

“Thank YOU so much. Do you have the key?”

I have the keys...these ones?

“No for the wardrobe?”

No I don't. I tried to get in.

“He said he gave you the key.”

No he gave me these ones.

“Oh you're doing an interview?”

You ruined it.

“lalala. I ruin everything.”

Soooooo.eeeeh...

Favourite Pop-Band...

Oh yeah I mean...whatever.

No no. You just wanted to tell us your favourite Pop-Band.

Oh no no no. no! Blondie. Debbie Harry?

You just had one in mind.

That's the one I was going to say. Debbie Harry? But yeah It's like you know...fun you know. Not serious...fun. But... New York City 75...74.
I think I should go back up.




myspace.com/jeremyjay

Rebolledo

„I don't really get along with computers“ is a sentence that makes musicians appear likeable. In a time where so many new releases never saw real instruments from a distance it is unfortunately very rare.
Mauricio Rebolledo belongs to this romantic type, that still prefers the warm unperfectness created by analog instruments.
Born in Xalapa, now living in Monterrey, Mexico, he started his musical career in 2002 behind the DJ stand fighting like a „Guerrero“ against the predominant „plain and monotone sets“ he hates.
„When I DJ I don't lock myself up in one specific genre.[...]I like playing music from really new to really old.[...]I like to mix house and techno tracks, I play my own productions...a lot of disco, but actually...any kind of music can pop up during my sets.“
6 years later then only DJing did not suffice no more. Rebolledo felt the necessity of producing his own music.
This is the moment where globetrotter Matias Aguayo and his new label Cómeme came into play.
Aguayo, a former member of Closer Musik on Kompakt had moved back from Cologne to Buenos Aires where he organizes parties called Bumbumbox with some friends. The collaboration also gave birth to a new label (Cómeme) and Rebolledo, for the time being, ranks among the tiny South American selection of artists (the other ones: Matias Aguayo, Chantal, Diegors and Djs Pareja)
“Matias and me got to know eachother a couple of years ago when he came to play in Mexico. We became friends and kept in touch. The last time he came, almost one year ago, I told him about my desire of starting to produce and he said he was interested in listening to my ideas. When I started to make my own music he would always listen to it...and liked it right from the start.“



Back to present and computers: Rebolledo creates his sounds in various ways. Producing „Guerrero“ for example, he used some kind of electronic toy drums, that he bought on a Mexican market for a mite. Other instruments of choice are basic synthesizers, maracas, cowbells, various percussion instruments and even his own voice to create bass-lines, melodies and rhythm. Whenever he's making use of effects, they have to be analog („I prefer to produce and record them in real time“) Being no accomplished musician his way of producing is a lot of playing around, testing sounds and noises.
„I don't have any musical background nor education, I come from the DJ stand. My music is probably not the best for listening to on the Ipod...but it totally works on the dancefloor. All tracks have a reason or objective,...an intention to provoke the crowd.
My music might appear basic, simple and repetitive, but smartly used you have great results on the dancefloor.“
Whenever there is need for extern input he has his friend DanDaMan a.k.a. Daniel Gutierrez, who in fact has this musical education as a sound engineer.
„Producing with him I can make use of other other elements than in my solo productions. We add guitars (he plays them)...analog synthesizers...a moog and a juno by roland...among other things. If you listen to his solo music you will notice that what we do together is kind of a mixture between his instrumental rock-pop and my simple sound, made for the dancefloor.“

At the end Rebolledo can't avoid working with a computer to put all the sounds together. (I think we can cope with it.)
As already revealed before, his DJ-sets no genresque borders, so that his eclectic musical influence he names is not too surprising: besides the psychedelic elements of West Coast House, Disco, Da Funk by Daft Punk („key moment“), Mareadora by Greenvelvet he doesn't even shie away from Country music.“But it's not only music that inspires me, when I want to make music I rather think of emotions and intentions than of other music. A lot of things are based on ideas and memories from my childhood. My imagination was totally released and crazy those days“

Cómeme plans to release their first records at the beginning of 2009. Here probably distributed on Kompakt.



myspace.com/rebolledosound
myspace.com/musicacomeme
myspace.com/dandamansound
myspace.com/bumbumbox

Algo en espanol

Diamonds In The Dark

S I X Q U E E N S
P A S S T H E M E T R O
C O U N T R Y W A L K S
G I L S L E E P I N G
T H E B O Y W H O K I L L E D T I M E
M O T O R C Y C L E
T H E S U N D O N ' T S H I N E
M E E T M E B Y T H E G E T A W A Y C A R
C Y C L O P S
A U T O N O M Y B O Y
B R E A K I N G T H E I C E
C L E A R S K I E S
H I D D E N T R A C K

Kosmonautenschule - Diamonds In The Dark

Ojos de Agua

I could lie. I could make up a really special and cool place to make this more interesting. But I won't. It was a pizza place in Uyunin, Bolivia, a village that lives of this adjoining Saltfield and natural park, attracting many tourists, where I met these two people, even hailing from Buenos Aires. Consisting of a male bongo/guitar player and a completey divine singer, Ojos de Agua play rhythm reduced (yes, again), accoustic, ethnic Latin American music (actually African stuff too as I had to discover listening to the cd).
However, in this overprized restaurant, with only a few backpackers, I was the only one applauding after the songs. Well, of course when I did so, the packers felt too unconvenient to go on refraining.
Yeah, I want to denounce this culture of travelling around, but not opening oneself for the stuff you see or hear. Example: I'm sitting in the middle of nowhere on 5000 metres, having no hot water, but having to listen to "Söhne Mannheims" out of some German's Ipod (feel lucky if you don't know them) instead of some fresh Bolivian flute tunes.
So now, after this post's portion of social criticism, just go for the music. Like it.


Aguas De Ojo - Unknown

Aguas De Ojo - Unknown

Aguas De Ojo - Unknown

Aguas De Ojo - Unknown

Aguas De Ojo - Unknown

Aguas De Ojo - Unknown

Chancha Vía Circuito

... that is Pedro Canale, a lanky, young musician, hailing from the province of Buenos Aires, Argentina. Pedro made himself a really well fitting name here as Chancha Vía Circuito (more or less like: „small wooden cart on the railroad“) in urban beats club Zizek, which meanwhile also became a record-label and is celebrating its second anniversary these days. The really interesting and attracting thing about his label is, that it not just queued itself into the row of these million labels, with their similar sounding and irrelevant electronic productions, trying to get a piece of cake from the big players. All the artists, playing in Zizek every thursday, follow their Latin-American roots, trying to transfer the music to presence and just doing something new, something unique in order to set themselves apart from the pabulum.

Therefore Pedro focuses on Cumbia, a really popular type of music, still nowadays in South America, especially Argentina, Mexico, Peru and Panama. It originally came from Africa, as music of the courtship ritual and was called cumbe. Through the Spanish colonization and Spain's need for gratis workers, cumbe came to Latin-America on board of the slave ships. At that time it was played with just drums and claves (percussion instrument, consisting of two thick dowels).
The slaves naturally came in touch with the indigenous population (obviously slaves as well) and borrowed their typical instruments like flutes and percussion instruments.Cumbia was born. For a long time, the music and dance, as part of the courtship ritual, were considered vulgar and a „thing“ of the lower class. Nevertheless you nowadays also find an European influence in the music, since it can contain guitars, accordeons, bass guitars and the modern flute.
Until today, Cumbia developed to various directions apart from the classical way. There exists Cumbia Villera, which comes from the slums, as well as cumbia rap and tecnocumbia.

Pedro interpretes it his own way, electronic- and digitally, slipping in folk and music that he grew up or rather dealt with in earlier projects. Although he produces with a computer, he sounds organically, almost like real sampled sounds of everyday life. His music is very reduced and rhythm focused, downbeat, but danceable; a thing that is important to him...

Let's start with the most important thing: How do you work? How do you produce you music?

In the first place I dedicate a lot of time on developping a library of sounds that attracts me. That can include elements recorded at home like samples from other librarys or other music. With those sounds then I set my base in Fruty Loops (Sequencer) and export it against to Cubase (Multitrack) where I add accoustic and virtual instruments and vocals.


Which instruments do you use?

Various percussion instruments, guitars, flute, synthesizers etc.


What are your influences and what are your inspirations working on new material?

I have many influences because I listen to loads of different styles of music. For this particular project I would say it's Latin American Cumbia, folk from the Peruvian plateau, Dub, Minimal and IDM among others.


It's probably obvious...but I know Cumbia only for little time: what is the relation between your music and classic Cumbia?

It is highly related since this type of music is one or the principal influences.


When did you feel like starting a project where you can deal with Latin-American music?

Particularly when I felt the necessity of making danceable music. That was the point when I rediscovered the marvellous world of Latin-American Rhythm, like Cumbia.


How did you „enter“ this world?

Thanks to internet and fanatic friends I got acquainted with different styles of Cumbia, such as the Colombian, the Mexican, the Peruvanian etc...


Your music is extremely reduced and downbeat. In my opinion different to the other artists on ZZKRECORDS. How did the collaboration start off?

It started with the Zizek party; The alter-ego Chancha Vía Circuito and Zizek were born at the same time. This project is different to the others because each artist of the label reinterpretes these musical roots in a completely personal way.


How did the ZIZEK people get to new eachother?

Although some of them already new eachother before, we all came together in ZIZEK.


What do you think of the musical scene of Buenos Aires?

I think there are a lot of really talented people making music here...really good producers, which not necessarily are the often seen faces on the these mega-partys from the pop-scene.
The people of our underground predominantly more interesting. You just need to pay atention.


If you could change something, what would it be?

I would give upcoming talents more space to present themselves.


ZIZEK just became two years. What does that club mean to you?

It means a lot. First, because the guy who realised these parties is my brother (a.k.a NiM) and I started working with him right from the beginning. Second, because thanks to it, a lot of musicians like me got the chance to experiment with the dance floor, the place where we all grew up.


Do you consider it a movement?

Actually yes, I don't know any other club, as impartial as this one, where you can here fresher sounds and with so many competent musicians who really want to produce something.


Although it is really unique music, based on a certain part of the world, do you think Zizek will still grow? Maybe get famous in other parts of the world?

Yes; I think we will continue growing. Not only because it is good music, but because we're transforming all the time, like in a constant change, invastigating new rhythms and sounds.


What kind of people go to Zizek?

All kinds of people. Also foreigners.


Which music do you play there?

Only my own music. And I always invite musicians and singers.


Where do these people come from?

In general they're friends, people I made music with or people I got to know through my music.


You've got two more projects: Universildo and Verde Kiri. Which creative needs do you serve with these ones? Are there differences in the way you produce?

Verde Kiri was the first one, there I play an accoustic guitar. It is a lot more introspective and reflexive. Universildo is similar, but composed with a computer, actually way of composing as with Chancha Vía Circuito.


Which on of these products do you like most at the moment?

Right now I'm really enthusiastic with Chancha. I love it that the people dance to what I do.


Are you planning to publish more as Chancha after the Rodante record?

Yeah, I'm actually composing right now...I'm definitely going to publish more.

When?

Possibly next year.


Thank you



myspace.com/chanchaviacircuito

Die Aufreisser

Acht wilde Raubkatzen warten auf Ihre Dressur...

I can't say what exactly made me flip this compilation to check out which tracks were featured on it (I actually don't know what made me dig through the filthy compilation bin at all, let's call it fate hehe). But i guess the trash-as-trash-can-styled cover artwork was one reason to pause in front of it . The german descriptions printed on the cover ("8 hot disco-singles - a special release for discjockeys") gave me the rest so I gave the whole thing a try.
Big respect goes to the guy responsible for the promo texts. To stand out in this crap producing branch is not easy but he does easily with sentences like these: "Eight cats of prey are waiting for your dressage: Why don't you put a leash on these wild cats? You will see how tenderly they can purr, these beasts with velvet paws."
It's always surprising and funny when you discover tracks on comps like that which you never ever would have presumed to be there. In this case among all the other bullshit there is this little piece of early cosmic essence:

John Forde - Stardance

"Englishman John Forde has been workin as a studio musician
for a long time, before his voice was spotted. His specialty: Keyboards.
He used this perfection for his first single "Stardance", whose
space rock sound climbed the british charts astronomically fast."

That's what the descriptional text says here. And beside the fact that I can't imagine that this track would have ever seen the charts from any distance , I agree on the text in this case.
Stardance was originally released in 1977 as a 7" and was later also featured on the Woman 12" by John Forde. These releases are very hard to find nowadays as they got some hype because they were favourites of DJs like Daniele Baldelli and later on DJ Harvey.
What's so special about Forde's work is in my opinion the functional use of synths at this early point. The usual disco orchestration is replaced by the cosmic sounding synthesizers giving it a futuristic feel. This kind of production actually sounds quite up-to-date even today. I would give a lot to be living at this time, the late 70s, where the synthesizers started to conquer dance music. Dancing to this kind of music must have given a strange and exciting feeling to the crowd.
The song-writing and the way John Forde is singing here on the other hand are a bit too much for me. But sometimes that kind of cheesy athmosphere is also working for me. The louder I play it the more i like it.
Also, if you are into this kind of stuff, you should definitely check out the "dirty space disco" compilation by the dirty soundsystem. There is also a track by John Forde featured on it: "Atlantis". This one is even more cheesy and therefore not really my cup of tea, but there's some other really nice stuff to be discovered.

Nehmen Sie unsere Wildkatzen doch mal an die Leine.
Dann werden Sie schon sehen, wie zärtlich die schnurren
können, diese Aufreißer mit Samtpfoten.

Machine Gun (No Vocals Edit)

We Carry On (No Vocals Edit)


Coming back to you with quality journalism soon. hopefully.

Summer Slump

Wtf

A bit too late for a CSD special i'm afraid...

Suicide

Tonight I want to draw attention to music that touched me a lot lately: No Wave. Actually the so called godfathers of this „non“-movement: Suicide. Besides the super-coolish name, the first song I got to hear was „Dance“, a tune lets me shake immediately putting it on my record player. Martin Rev, one half of the duo, created these totally hypnotic and driving beats on a broken drum-machine that was used for bar mitzvahs earlier while Alan Vega sang and talked on it. His vocal style referred to Rockabilly and method acting.
Suicide's irregular concerts frequently ended in a mess and were abandoned very fast; their texts often dealt with The American Dream and its brokenness which during the 70s would often hit an audience with little understanding. Nevertheless they had a concept that brought them the status of an art-band and inspired leaders of No Wave, probably the most radical scene ever, such as Lydia Lunch, who got literally adopted by Rev, and James Chance.
With their debut LP 1977 Rev and Vega led New York's underground scene out of the blind alley of punk with all its conservatism in music production.
Although Suicide nowadays is regarded as an inspiration of bands like DNA, Mars, James Chance & The Contortions etc. they were much straighter and more stringent compared to the total chaos a few years later.


The following two dancing-musts both occur on „Second Album“ from 1980.

Suicide - Harlem

Suicide - Dance



And don't miss the chance of watching insanity:

Der Räuber Und Der Prinz

Kosmonautenschule is proud to present the Düsseldorf-Berlin collaboration Der Räuber Und Der Prinz consisting of Sebastian Lee Philipp from Noblesse Oblige and Ralf Beck from Unit 4. We first heard Der Elektrische Reiter in 2007 when it was played on beats in space and now, short-time before they're finally releasing their 12", we felt like posting something about this coolish instant-classic. With their analog way of producing they're sounding so much more timely and outstanding compared to many other current releases.
Here we have a short interview with the newest act on Amontillado records:

Hello!
How did this collaboration come about?

Ralf: We met at the Salon des Amateurs in Düsseldorf. Sebastian did a Gig with Noblesse Oblige and later we talked about the possibility of a N.O. Remix for Musiccargo.
So somehow we ended up doing a studio recording session, taping Sebastian on a broken 3 String electric guitar.

Sebastian: Yes, our mutual friend Mr. Tolouse Low Trax introduced us and when I saw all the equipment in Ralf’s studio I was eager to play around with it.


Does this DAF quote with your name have any deeper sense? Or is it just random?

Ralf: Sebastian dropped the name all of a sudden while hanging out at the RIO club in Berlin.
We are both fans of DAF, you could say random.

Sebastian: It was a spontaneous decision. There's the Düsseldorf reference of course. I recently met Robert Görl and told him about the project and he seemed happy about this little tribute in our name.


What about “The Electric Horseman”? We first thought of Joachim Witt until we found out it is a film.

Ralf: Yes it is a film. But it does not relate to this movie. We just like everything that relates to horse riding in general i think.

Sebastian: I didn’t realise there was a film called The Electric Horseman! The title came from Ralf’s twisted mind.


Where did you record?

Ralf: We record/recorded at the Uhrwald Orange and Sebastian’s Studio in London/Berlin.


You produced your music only with analogue equipment. What kind of advantages do you see going this way?

Ralf: More time for playing music, not programming music.

Sebastian: Like preparing a nice home cooked meal rather than a microwave dinner. You can taste the love in it.


In how far do you think that such an “old-fashioned” way of producing can still lead to a modern sound?

Ralf: Well, the word "modern" is an oldschool relic itself. I think Kasimir Malewitsch´s "Sieg über die Sonne" will give here some brief answers. Today’s average music production uses the development of music progression of the last 30 or 40000 years. So everything is quite oldschool. The most oldschool thing ever is a singing voice. The age of an instrument will say nothing about its quality of sound it can reproduce. Imagine the invention of the wheel or eating bread, it’s so oldschool. Retro fashion has always been on demand. The American Capitol, it’s a Greek temple. So to say, a well balanced combination of temporarily forgotten and recent clichés will do the job.

Seb: When music contains “soul” it becomes timeless.


How would you describe your style, influences etc?

Ralf:
Style: Analog.
Influence: A pair of my parents Acoustic Research A3-3a speakers along with a collaboration with Karl Bartos, Lothar Manteufel and Emil Schult for the "Electric Music" project and my friends’ record collections.

Sebastian: Ralf introduced me to some great music I hadn’t heard before like Indoor Life or Geile Tiere. I sent him some soundtracks I was really obsessed with like Stuart Staple’s score of the Claire Denis film L’Intrus or Michael Bundt’s The Brain of Oskar Panizza.
So I think we influence each other with our music knowledge which we obviously incorporate in our own music.

Are there things you can let out as DRUDP which you’re not able to as UNIT 4 or NOBLESSE OBLIGE?

Ralf: Of course, together we create a different mood. But it’s not made of the need to do so.
It’s just natural.

Sebastian: The music comes out of these moments that develop in a very natural way.

Sebastian, you know both: creating music, playing gigs, spinning records in Berlin AND in Düsseldorf. Do you see any differences?

Sebastian: Of course there are a few differences because there’s a lot more access to music and bands in Berlin nightlife, whereas in Düsseldorf there is only one good club. So when I think about the Düsseldorf scene I really mean only the SDA which through its programmation and music policy has become a place for people to discover music if they want to, which I think is a rarer thing to happen in Berlin nightlife for instance.

When do you release your 12”?

16th of June in selected record stores. A list of stores is available soon at
www.amontillado-music.com or www.myspace.com/amontilladomusic.
There will also be a release party on June 14th at the Salon des Amateurs Düsseldorf.
The B-Side track "Torpedovogel" is featured in the upcoming New York "K48 mix" artzine.

And afterwards: Any plans for the future of this project?

We are working on a new 12" and would like to have a finished album soon.




Check out Der Elektrische Reiter, Torpedovogel and Stripped Reiter on myspace.com/derräuberundderprinz
and don't miss the release-party on 14.07. at Salon Des Amateurs!

Unfinished stuff

To allude yesterday's comment I want to show you this:

For the first time the arrangement of Why me was released in 1982 on X Records titled No Human. It came out simultaneously with the more known Explorer. Both records were results of the cooperation between Tony Carey and Peter Hauke who produced it.
Carey said :"Explorer and one called No Human were just ... some guy raping my archives. I didn't even know about two of the releases. It's all unfinished stuff."

Adoring the version of No Human I feel like the mentioned guy must have been a clairvoyant who saved the unfinished stuff before the Planet P-rape one year later on Geffen Records.
Nevertheless, another example shows how the ingenious duo in fact was able to finish their stuff: the track No. 8 was used for the Hai Samurai 12" release under Carey's alias Yellow Power in 1982 which was re-released on the Dirty Space Disco compilation last year.


Explorer - No. 8


Sad story:
Last week we found a original No Human for incredible 7 Euro on the internet. After an affirmation on the part of the seller the next day he wrote that he didn't have it anymore. Probably found out about his crazy offer...

What remains...at the end of the week (XXII)

No Human - Why Me (incomplete)
Cevin Spacey doesn't get how Tony Carey could dare singing on that.

Nina Simone - Ain't Got No (I Got Life)
Captain Clark ain't got no shoes.

Capturing The Streets

"The city is a ‘body without organs’, as Deleuze says, an intersection of channeled flows. The skaters* themselves come from the territorial order. They territorialize decoded urban spaces – a particular street, wall or district comes to life through them, becoming a collective territory again."

Jean Baudrillard

What remains...at the end of the week (XXI)

Propaganda - P-Machinery (Beta Mix)
Cevin Spacey + Düsseldorf = infinite affection


Foreverly Brothers - All I Have To Do Is Dream
Captain Clark is the Reläxxer of the week.

What remains...at the end of the week (XX)

Neon Judgement - Voodoo Nipplefield
Cevin Spacey finally has time for voodoo and nipples.

Troy Tate - Love Is (Dance Mix)
Captain Clark's borrowed nostalgia for the unremembered 80s.

What remains...at the end of the week (XIV)

The Organ - Memorize The City
The Cevin Spacey is indie.

Jack Bruce - Make Love (Part II)
Captain Clark wants to make love to you.

Gorillaz LP

I lately dug up this highlight of my childood when I was driving and looked through the cds in my glove box. It's really uncool to post it, eh? Yeah, maybe.
But what I want to get at is not the ultra-funny and cool story about this notorical mopish cartoon band and neither is it Damon Albarn, De La Soul or Dan The Automator since you can read about all that stuff on wikipedia if you really want to.
It's basically about my astonishment when I fingered out the cd. With my 11 years in 2001, when their debut came out I more or less skipped from Clint Eastwood to 19-2000 to Rock The House and didn't really get the album. Now, 7 years and a musical emancipation later these songs seem boring and straight. Tunes like Double Bass and Latin Simone (Que pasa con tigo) now attract me with their undetermination and tastefulness aside from any mainstream capacity and built up cultic factor. You can't really declare the album good; the wanted eclecticism is definitely forced to much. The dispensable punk-song Punk at least includes a certain irony but other tracks like M1 A1 are just over the top. Albarn wanted to run riot with this project but wasn't officially included in the progress of producing. I find that without his voice on some songs (listen to Starshine) the whole record would have gained a lot.
The evidence that the project as such already created quotable material is supplied by remixes or fine-tuning by Quiet Village and on Chapter One of the DFA Remixes.

Gorillaz - Latin Simone (Que pasa con tigo)

Gorillaz - Double Bass

What remains...at the end of the week (XVIII)

The Smiths - Meat Is Murder
Cevin Spacey likes animals...fried.

SBB - Trojkat Radosci
Captain Clark says nothing, because it would destroy the beauty.

Baleardo Villalobos

Watching this video totally made my day when I saw it. Ricardo takes an old South American folk tune and is mixing it with a deep German minimal techno track. Seems to be an incredible moment for the crowd which is completely out of control. I wish I was among them! The video proves that Ricardo is really holding an exceptional position in the techno scene. There’s not a single other DJ who can create such an emotional moment. And Ricardo is always testing borders and sometimes even passing them. It’s the love to music, the curiousness, a daring attitude, being keen on experimenting, what it’s about. Ricardo is one of the very few DJs where I can see these ambitions. What a pity that I don’t like most of Minimal at all…

Ricardo doesn’t get tired of pointing out that he sees so many origins and analogies of modern dance music in old folklore from South American. A kind of music he often came across with as a child, because his family comes from Chile and he was also born there. He came to Germany when he was three years old. And Germany stands for a tradition of creating and developing electronic music, he says in one of his interviews. It’s probably these two halves which characterise him well. And the video above captures this kind of background quite accurately! And it proves how based on rhythmical elements such an old folk tune can be. It stays in beat the whole time, probably because of Ricardo’s mixing skills, too.

However, people were so surprised when he took Shackleton’s “Blood On My Hands” and integrated it into his sets. It’s a Dubstep track, dark and mesmerizing, but quicker than most of Dubstep. There’s no straight beat, just lots of congas and percussions. It’s a risk to play this to the common techno crowd I guess. But it just made sense. I totally dig the Voodoo-Vibe of this piece of music. Ricardo later turned it into monster remixing it. This track was SO dark and hypnotic. An almost 20-minutes-long trip through the evil parts of human life. It became one of the few tracks I like of the minimal genre!

When Ricardo spoke to German Groove Magazine last year, he said he wishes for a place where the music would be played the whole day and would not have to fulfil any dance-expectations. I like this No-Rule-Mentality. It shows where things should go to. And I’d love to hear the music Ricardo would play without having to entertain the minimal crowd.

For me, it’s just a question of time before this guy will break out, step free, whatever! Perhaps an exceptional mix for this blog would be a good start, Ricardo? Hehe…Till then, just keep it up dude!